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GEORGE BRUCH’S SON & CO., Typn-FounpERS, No. 13 CHampBerrs-Strent, NEW-YORK. 


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$3.00. NONPAREIL BLACK ORNAMENTED, No. 541. 493273144 | $3.60. Brevier BLAcK ORNAMENTED, No. 541. *339nd144 
K SOLID TAKE. Pope Pius J]. im 1462, wrote a letter to Quillawne le BS, a celebrated engraver, established a 
Plakomet whieh was printed at the Convent of Yeoidenbach, near Qologne, Tupe-foundry at Paris in 1552, and soon after bought the 


: a : 
This letter made a quarto volume of 168 pages in | punches of the famous Claude Garamond, “the 


whieh there are but 3 paragraphs. Chree editions of the book are known, | : , 
4 father of type-founders.” Pfis grandson, Fe BS IT], last of 
Pladden thinks they were set at the same time by learners of printing. x 
the name, sold the foundry to Kournier, sexior, in 1734, 


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eontury, was sold in [$15 for £637, 15s. i ed ¢ lit 
ury were KH X Kae ar 
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It contained 59 large Ulustrations, and more PILACISS. Rldus Yfanutius, tx 1598, 
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BaTAvia HISTORIA. 


Postea faginas formas plumbeis mutauit, has 


deinceps stanneas fecit, quo solidior minusque 


flexilis esset materia, durabiliorque : € quorum 
typorum reliquijs que superfuerant conflata 
cenophora vetustiora adhuc hodie visuntur in 
Laurentianis illis, quas dixi, edibus in forum 
prospectantibus, habitatis postea a suo pro- 
nepote Gerardo Thoma, quem honoris caussa 
nomino, ciue claro, ante paucos hos annos 
vita defuncto sene. Fauentibus, vt fit, inu- 
ento nouo studijs hominum, quum noua merx, 
nunquam antea visa, emptores vndique exci- 
ret cum huberrimo questu, creuit simulartis 
amor, creuit ministerium, additi familix ope- 
rarum ministri, prima mali labes, quos inter 
Toannes quidam siue is (vt fert suspicio) Faus- 
tus fuerit ominoso cognomine, hero suo infi- 
dus & infaustus, siue alius eo nomine, non 
magnopere laboro, quod silentum vmbras in- 
quietare nolim, contagione cdéscientiz quon- 
dam dum viuerent tactas. Is ad operas ex- 
cusorias sacramento dictus, postquam artem 
iungendorum characterum, fusilium typorum 
peritiam, queeque alia eam ad rem spectant, 
percalluisse sibi visus est, captato opportuno 
tempore, quo non potuit magis idoneum inu- 
eniri, ipsa nocte quae CHRISTI natalitijs sol- 
ennis est, qua cuncti promiscué lustralibus 
sacris operari solent, choragium omne typor- 
um inuolat, instrumentorum herilium ei arti- 
ficio comparatorum supellectilem conuasat, 
deinde cum fure domo se proripit, Amstelo- 
damum principio adit, inde Coloniam Agrip- 
pinam, donec Magontiacum peruentum est, 
ceu ad asyli aram, vbi quasi extra telorum 
iactum (quod dicitur) positus tuto degeret, 
suorumque furtorum aperta officina fructum 
huberem meteret. Nimirum ex ea, intra 


‘aTTO$ 


‘SGVHI VOId OL 9 HLIM 


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BaTAVia HISTORIA. 


vertentis anni spacium, ad annum a nato 
Christo 1442, ijs ipsis. typis, quibus Harlemi 
Laurentius fuerat vsus, prodisse in lucem 
certi est Alexandri Galli doctrinale, que 
Grammatica celeberrimo tune in vsu erat, 
cum Petri Hispani tractatibus, prima foetura. 
Ista sunt fermé quz & senibus annosis fide 
dignis, & qui tradita de manu in manum 
quasi ardentem teedam in decursu acceperant, 
olim intellexi, & alios eadem referentes atte- 
stantesq. comperi. Memini narrasse mihi Ni- 
colaum Galium, pueritizs mez formatorem, 
hominem ferrea memoria & longa canitie 
venerabilem, quod puer non semel audierit 
Cornelium quendam bibliopegum ac senio 
grauem, nec octogenario minorem (qui in 
eadem officina subministrum egerat) tanta 
animi contentione ac feruore commemoran- 
tem rei geste seriem, inuenti (vt ab hero 
acceperat) rationem, rudis artis polituram & 
incrementum, aliaque id genus, vt inuito quo- 
que pre rei indignitate lachrymz erumpe- 
rent, quoties de plagio inciderat-mentio: tum 
verd ob ereptam furto gloriam sic ira exar- 
descere solere senem, vt etiam lictoris ex- 
emplum eum fuisse editurum in plagiarium 
appareret, si vita illi superfuisset: tum deu- 
ouere consueuisse diris vitricibus sacrilegum 
caput, noctesque illas damnare atque exe- 
crari, quas vndé cum scelere illo, communi 
in cubili per aliquot menses exegisset. Qu 
non dissonant 4 verbis Quirini Talesij Cos. 
eadem fere ex ore librarij eiusdem se olim 


GEORGE BRUCE’S SON & CO., Typn-FounpErRs, No. 13 CHAmBERS-STREET, NEW-YORK. 


356 


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60 a and 30 A 
2 Ib. 8 oz. 


$2.90. NoNPAREIL Evzevir Irauic, No. 654. 
THOUGH WE CAN PLEAD NO ANCIENT AUTHORITY jor the shape 
of Letters, yet doubtless (if we judge rationally) we must conclude that the Koman 
Letlers were Originally invented and contrived to be made and consist of Circles, Arches 
of Circles and straight Lines; and therefore those Letters that have these Figures, 
either entire, or else properly mixed, so as the Course and Progress of the Pen may best 
admit, may deserve the name of true Shape, rather than those that have not. Besides, 
since the late made Dutch Letters are so generally, and indeed most deservedly accounted 
the best, as for their Shape, consisting so exactly of Mathematical Regular Figures as 
aforesaid, And for the commodious Fatness they have beyond other Letters, which easing 
the Eyes in Reading, renders them more Legible ; As also the true placing their Fats 
and their Leans, with the sweet driving them into one another, and indeed all the 
accomplishments that can render Letter regular and beautiful.— Page 14. 


40 aand 20 A 


LONG-PRIMER Evzevir Irauic, No. 654. *3 ia‘. 


$2.90. 
AND FOR MY OWN FUTURE SATISFACTION 
collected my Observations into a ‘Book, which IL have inserted 
in my Exercises on Letter-Cutting. For therein I have ex- 
hibited to the orld the true Shape of Christophel Van 
Dijck’s aforesaid Letters, largely Engraven in Copper lates. 
Whence I conclude, That since common consent of Bookmen 
assign the Garland to the Dutch-Letters as of late Cut.— P. 15. 


$4.50. 


GREAT-PRIMER Evzevir Iraric, No. 654. 


60 aand 30 A 


BreEVIER Evzevir Irauic, No. 654. Sen ee 


$3.50. 


FOR MY OWN PART, I LIKED THEIR LETTERS SO 


well, especially those that were Cut by Chrtstophel Van Dyck of Amster- 
dam, that I set myself to examine Proportions of all and every the parts 
and Members of every Letter, and was so well pleased with the Harmony 
and Decorum of their Symetrie, and found so much Regularity in every 
part and so good reason for his Order and Method, that I examined the 
biggest of his Letters with Glasses, which so magnified the whole Letter, 
that I could easily distinguish, and with small Deviders measure off the 
size, scituation and form of every part, and the proportion every part bore 
to the whole.—Page r4. 


30aand15A 


Pica Evzevir Iraic, No. 654. a eones 


‘18: 
BY THE HéLP of asMAGNIF VIX 
GLASS, or two tf occasion be, even those small 
Letters will appear as large as the biggest Lod- 
zed Letters: cAnd then tt will be no difficult 
Task to gudge of the Order and Decorum even 
of the smallest Bodted Letters.—Page 15. 


25aand12A 
7 Ib. 8 oz, 


For indeed, to my wonder and astonishment, [ have observd UO. DIFCK'S 
PEcARINDOTCH LEG his 
in glasses that have Magnified them to great Letters— Page 16. 


$6.60. 


DovusLE SMALL-PIcCA Evzevir Iraric, No. 654. 


25aand12A 
11 Ib. 12 oz. 


And found the whole Shape bear true 
PROPORTION TO. HIS GREAIME Gi) 2 
both for the Thickness, Shape, Fats and Leans—P. 16. 


$9.05. 


DouBLE GREAT-PRIMER Evzevir Iranic, No. 654. 


15 aand 8 A 
16 |b, 2 oz, 


MOXON’S MECH-ANICK 
EXERCISES 


or the Doctrine of flandy ‘Works appled 


to the Art of Printing, London, 168 3. 


GEORGE BRUCE’S SON & CO., TypE-FounDERS, No. 13 CHAMBERS-STREET, NEW-YORK,. 


360 


—— 


# 
hy 
& 

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& 
B. 


NEW-YORK, duly, 1885. 


15 A 


$3.60. TWo-LINE NONPAREIL ORNAMENTED, No. 1,077. aera 


LE PLUS ANCIENNE GRAVURE GONNUE AVEG UNE DATE 1418 
BARON DE F. A. REIFFENBER E! 


TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,077. 13 hb. 


Lay this Third Supplement in BRUCE’S SPECIMEN BOOK of 1882, which is in your possession. 
361 


ea 
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ran 


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12 A 
Two-LInE NoNPAREIL ORNA’D, No. 1,078. oth’a'se D, No. 1,078. Sm 


$2.45. IRN Bis tome 
J. BAPT. MATOLINI, UDINE, 1606. 


=" W PFNORR, DARMSTADT, 1838. 


AN ESSAY OM THE ILLUSTRATION OF BOOKS. SVO, 
J. PLOWMAN, LONDON, 1624, 


2NAMENTED, No. 1,078. 


ENCYGLOPAEDIE DER BUCHDRUCKERKUNST 


HERMANN NEUBURGER, LEIPZIG, 1644, 


“i eT PARIS, 1889. 


a 


er, POLYTYPEW DER HOLZSCHMITTE, 


a hd eo 


STYLE 1,079. 


$2.30. Two-Link NoNPAREIL OrNA’D, No. 1,079. BA $3.00. Two-Line BourGeEors Orna’p, No. 1,079. oe 


BUSNBRUCARA BES gRreRmatagRa, ave. Co°") BISTOIRE BR 171M: 
G. QRIT1G, BER, 1279, PW. DL MAROULE, PA 


419, 1962, 


Two-LINE PicA ORNAMENTED, No. 1,079. 


ATFICL SBLL 


10 A 
4 lb. 12 oz 


8 
= 


$6.05. TWo-LINE GREAT-PRIMER ORNAMENTED, No. 1,079. Be 
Zz Al Ze is GB A , VY ZAZA AYA ZO ZZ] 72 ip EA AA A 
fl A ly Z 4AM = AA: QA AAs 
ZA 4) aa <A _ aa ele 4 A CZ is eZ ca 
Ay ay AA A AA: AA Ag Aa’ Ay AAA Aad: 
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> os Z 2) ae) e 


42 ZZ AA GZ 27 GAD 3B 5 iz 2 
JAD Az a ey Z A) A 4 A 


5A 
7 Ib, 12 oz 


Four-LINE PrcA ORNAMENTED, No. 1,079. 


GEORGE BRUCE’S SON & CO., Tyen-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
363 


STYLE 1,080. 


$2.75. Two-Line. Bourcgors Orna’D, No. 1,080. 91.42. 
DER HOLLANDISCHE BUCHNANDEL SEIT COSTER, aro) THE PRINTER'S BOOK OF DESIGNS. 
SYS” 6, MAGHRIS, DEFROVE, MIGH., 1877. 


$2.05. Two-LINE NONPAREIL ORNA’D, No. 1,080. ian ee 


OTTO MUEHLBRECHT, LEIPZIG, 1867. 


Two-LinE PicA ORNAMENTED, No. 1,080. 


DclelcA S THMPERI Dicle SEMINHRIO DI PADOVA, J 


GHETANO SORGATO, PADOVA, 1843. 


MORIA. 


THE BALLANTYNE PRESS, 
‘DINBURGH, 1871, 


$5.20. Four-LInE PiGA ORNAMENTED, No. 1,080. 


UR LL PEHOGRAPHEN 
G. SCHMALZ, LEIPZIG, 1841. 


® 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHamBErs-STREET, NEW-YORK. 
364 


STYLE 1,081. 


$2.05. Two-linz NoNPAREIL ORNA’D, No. 1,081. 1,254, | $2.75. Two-LinE BourcEors Orna’D, No. 1,081. 2943. 


bh KITHOGRAPHIE APPLIQUEE W LENSEIGWEMENT A 


\: 7) THE BEST PORTRAITS IN ENGRAVING 
FES, SELVES, PARIS, 1828, em” CHS. SUMNER, NE 


Ne NEG 7, TG 
¢ bah ey Wg XD chee fA Pee fs of 
Wee ORK, tBt2: 


$4.05. Two-LINE PicA ORNAMENTED, No. 1,081. 4 th. 8 07, 


{ by ih ht 4 ey fo) NON at het PI, st TTT hth +, ate] +, PrAy Ne 
q NZ ye .) a NG AYP AV > cf ch Al ait b Bed > <A r) Me No old ¢ L dlls dys ere | 
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GEORGE BRUCE’S SON & CO., TypE-FounpERS, NO. 13 CHAMBERS-STREET, NEW-YORK. 
365 


bate ee oe ae 


is, oe) Geese © 2F the GM. Ms 


Cen) OW i Deh a Oe alt ates akg 
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$ag 


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STYLE 1,557. 


$3.75. Pica ORN 5 NIG Lsay oo end ae | $4.00. GREAT-PRIMER ORNAMENTED,. No. 1,557. 
TENTS 
How to Tell a Caxton, as some ae where - how the same tn 


ee Variétés Bibliographiques et Littéraires. ht Bo, 


may be Found, 
AUG. DE REUME, BRUXELLES, 1850. 


WILLIAM BLADES, LONDON, 1870. 


$5.60. DousLEe Pica ORN NrED, No. 1,557. 


American Encyclopaedia of Printing. edited by d. Luther Rival. Large 6vo. 
J. LUTHER RINGWALT, PHILADELPHIA, 1871. 


$7.70. DouUBLE GREAT-PRIMBR ORNAMENTED, No. 1,557. 


Kerkgeschiedenis van Nederland voor de eae Ato, 
W. MOL, ARNHEM, 1664. 


Baand5 A 


Anal tipografici cl “Piemontesi del secolo XV. 
GIUSEPPE MANZONI, TORINO, 1856. 


GEORGE BRUCE’S SON & CO., Type-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
366 


STYLE 1,558. 


S75. PIcA ORNAMENTED, No. 1,558. 


Essai lypograp hi we et BL 


$7.20. DousLe PicA ORNAMENTED, No. 1,558. 


NL" 


NN 


(‘= 


GEORGE BRUCE'S SON & CO., TypE-Founpers, No. 13 CHAMBERS-STREET, NEW-YORK. 
367 


5 


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$5.00. GREAT-PRIMER CHIROGRAPH, No. 688. Se ena 


Llmbroise Ki irmin Hidot in 1820, gave up the use of Log - -shin Fnhing Lalls, and | 

did all his pressworh from LJollers of Glue ad Molasses, Lis cousin ules Hidot persisted in the use of | 
the old-fashioned Zalls, which he, @® others, claimed inked the type more evenly by Heating, than | 
could be done by the LKotation of an Lnhing Zoller. Sill the Working Gressmen of Garis were violently 
opposed to the introduction of Inking Leollers ind Nachine Eresses, 


£6. 30. DovusLEe PIcA CHIROGRAPH, No. 688. 


Huring the FKevolution at Laris in 1530, and OVEN MS late as 1 1518 | 
the journeymen pressmen of Y aris sbi the offices that had Machines ® Inking 
Fpollers, and destroyed the offensive materials, 

Lhey clamored jor the restoration of Und § Cresses and Snhi ing Balls, saying that the 
Meu Inventions were, or Would be, their ruin, as well as the ruin of the | 


Srinting b USINESS, 


$8.80. DouBLE GREAT-PRIMER CHIROGRAPH, No. 688. 10th 1D er: 


Lhe Inking Fyoller and. the Machine J Cress have. not 
destroyed hut have tnereased the worh of pressmen, Pressmen 
have more steady employment, with less of hard 

worh @ are much better paid. 


dee Hidot £ssuy on Lengraving on Wood, page 256, 


GEORGE BRUCH’S SON & CO., TypE-Founprrs, No. 13 CHamBErS-StrEET, NEW-YORK. 
368 


Bed 
SEEreSssee 


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Two-LINE BouRGEOIS ORNAMENTED, No. 1,082. sea 


LOTT CANONIGOKU 


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WO-LINE PICA ORNAMENTED, No. 1,082. aucoee 


Gi * SA 
Two-LINE GREAT-PRIMER ORNAMENTED, No. 1,082, ee 


| Lay this Fourth Supplement in BRUCE’S SPECIMEN BOOK of 1882, which is in your possession. 
369 


on 


Or eae te pee 


$2.80. Two-Line NONPAREIL ORNA’D, No. 1,084. aah a's, | $3.25. Two-LInp BourGEors Orna’D, No. 1,084. sian. 
ERASM ROTERODAMI «an ANCHTRAG ZU 
SILVA CARMINUM, ANTEHAG NUNQUAM yas “ 
IMPRESSORUM: ae DEN TYPOGR. DENKMALERN, 


ERASMUS, BRUXELLES, 1864. ays F. GRASS, BRIXEN, 1791. 


“LOF DER DRUKKUNSTE; DOOR 
.. J. COSTER, OMTRENT 1440 MI ARNMEERKINGEN, 
A, HOOGVLIET, ROFFERDAM, 1740. 


STENOGRAPHIE. EN FAGHYGRAPHIE 
7, J. LION, GRAVENHAGE, 1849 


ETUDE SUR LA GRAVURE.. 
H. GOBIN, PARIS. 1868, 


STYLE 1,559, 


$6.00. BREVIER ORNAMENTED, No. 1,559. “Site $4.90. LONG-PRIMER ORNAMENTED, No. 1,559. 494274204 


Beschriving ban tuSee prachtexemplaren der in het _ibrorum haud tha dtu ab inventa 


Pransch vitéedgeVven Werken Van den Heer A. de Vries, over 


arte typographica editorum, quibus supplest possint 
€ [Jitiindind der Boekdrukkunst. 


J. J. F. NOORDSICK, HAARLEM, 1846. 


Annales typoéraphici Maittatriant. 


FRID. OTT. MENCKEN, LEIPSIG, 1640. 


95:55. pe TED, NO: 1,559. “iT $7.40. GREAT-PRIMER ORNA’D, No. 1,559. ee 
eber die Darstellung einiger cg Ber a7 

; U 3 Bie me bee Essai historique ef critique sur 

Mikroscopischer Botanischer Objeckte 


durch Naturselbstdruck. Minvention de limprinerie 


ALOIS POKORNY, WIEN, 1857. CHAIROGa SARIS! (abot 


$10.70. DovusLE PIcA ORNAMENTED, No. 1,559. pO sana one 


eer) Uren, bis |_ite and Works. Several 
SOOPOLINOS. GVO. Pp. XVI. 324. 
MemeelAM b. SCOTT; LONDON, 1662. 


$14.05. DouBLE GREAT-PRIMER ORNAMENTED, NO. 1,55€ ribs 


Coloris des | jthoéra ph’ es, 9mo. 
One leat with 6 plate. 


A. ROBIN, FARIS, 1037. 


GEORGE BRUGE’S SON & CO., TypE-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 
371 


ee aes 


wits 


STYLE 1,083. 


104 
8B lb, 6 oz, 


EXEEEEERE) RRXREERS EY KEEKERERSY CEREERS 


TENT 
ETE NTED 
April 20, 1886. 


! = = 
PTEPPREEUECOECCCOCOCCOCCOOUeUUUUUeUUUEUOOUR DEOL LLL LLL LLL 


$11.85. THREE-LINE PicA ORNAMEN 


‘ED, No. 1,083. 18 Ih 12 07. 


PSRERERESY (EREEEES 
fe g 


Seeteeconeee 
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Sep eessevees 
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Se teneeeeeeee 


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$3 


PxEERERERS 
show ba = 
bd ERERESES bi Rae EE ES PS 


10.25. 5A 


14 1b, 4 oz. 


Saas 


#8 


SEETETEEESSSS 


SEPP P Ee ER SO TLE POLES SETS g 4 $ E See 
Setereeeereeeenseeeees : ¢ é Sie ae $ 2 br ¢ i RSET SE, Sbdoo bobo . See = 
* See eeeeeeeeeeeeeeeeeees 32 POO? ¢ 29 Se85: 4 > bb i $ é 3 4 Zx% 
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bide $ 5 


He eee es 


GEORGE BRUCE’S SON & CO., 


ypE-FouNpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
372 


NCW-YORK, May, 1897. 


$2.00. Two-LINE NONPAREIL ORNA’D, No. 1,085. 11022 or. | $2.50. Two-LInE BourGEOISs ORNa’D, No. 1,085. 232A, 


By Tipocnta 30s THUGHAPCS, ce, DUR GESCHUOHTE UND THEORIE DER 
RECUERDOS DEL ARTE De IMPRIMIR Y DE SUS Sai¥g: 
ieee ee LORMSCHNRIDERUNST 


ANTONIO ESTEBAN DEL OLMO, MADRID, 1980. | G6. X. VON RUMONR, LEIPZIG, 1837. 


$3.50. Two-LINE Pica ORN ED, No. 1,085. 


STURI STORIGC SUL “ETPOBRAEIE, INRORNG 
PFORIGING DERE ARTE Dek STAPH. 16M, 126 PAGES, 
TRANCESCO GILIBERT, PALERMO, 1870. 


$5.15. RIMER ORNAMENTED, No. 1,085. 


“eTEIBERS DRAWE EN 5 AGEES EN TERS 
ED, POURNIER, PARIS, 1969 


Lay this Fifth Supplement in BRUCE’S SPECIMEN BOOK of 1882, which is in your possession. 


373 


io ee 


a hls a 
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- 
sre ate. 


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STYLE 1,086. 


$2.35. ° Tw E NONPAREIL ORNA’D, No. 1,086. 2° $3.00. Two- 


FHE Ul P Es ANd TIMES OF JAMES GATNAGH, 
LATE OF SEVEN DIALS. 
CHARLES HINDLEY, LONDON, 1878, 


ery THE PRINTERS’ CARNIVAL AND 
WO) ——sCOOTHER POEMS, 
NES KELLY, AIRDRIE, 1875, 


Se hf 
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NOPICE SUR LE SPECULUM HUMANAE SALUATIONIS, 
J. MW. GUIGHARD, PARIS, 1840, 


TED, No. 1,086. 7 


tHE Ant oF PRINTING AND CAXTON 
INSARD, LONDON. 1855, 
OTOIKE: NE MPR ri 
P, DUPONT, PARIS. 1854. 


GEORGE BRUCE’S SON & CO., TyPE-FounpErS, No. 13 CHAMBERS-STRE 


1) 


H 


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ET, NEW-YORK. 


be 


STYLE 1,087. 


$3.90. Two-LInre NonPAREIL OrNA’D, No. 1,087. 325A, | $5.00. TWw0-LINE BourGEOIS OrNa’D, No. 1,087. ran 


10A 
8 Ih. 8 oz. 


$7.65. 


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=A = 5 = se) S= We VS = : = — =A aN 
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EAD EAD EE) AD Eyer ad Sarees Se } BAND, 
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$4.00. Two-LiInr BourGEoIs OrnA’D, No. 1,088. 


Histone De C/iNPRINIERIC BY BE CUTENBERG-WALZER FUR 
im dipRAtRie A LYON DAS PIANOFORTE- 


J. B. MONFALCON, LYON, 1840, Fo GLEICH, LEIPZIG, (8402 


$3.15. ‘Ewo-Line NonpAREIL Orna’D, No. 1,088. on. 12 


$6.30. TWO0-LINE SMALL-PICA ORNAMENTED, No. 1,088. ei 


PIT (PD 


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7K IN Lo Z 
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Four-Line Pica ORNAMENTED, No. 1,088. 12 Ib. 


IOoU / PG 
LYON (95> 
ny 
LYON, 6 


GEORGE BRUCE’S SON & CO., Typr-FounpgErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
376 


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OF 


ERINIING TYPES 


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Me i AW ee Mnifaim forapotionad Anetedie Ct decease, Bou woe 7 po rey t Ad 
we haiig ) wn’ pM Fi idem. | 


Ei. es wa é Siguies GHEE Ce Gack: Zo Ee lintO ee Meay » 
‘ 4 Vide OWI See cuflain€d OW / ee D2, ate wa Sowluse An Vie es 


os Qe ne Cub Mf His Peak See ge out yo onde, a 
ie the conch © ee and sae iy Beye ty uUuto. CX. nan 
ed sn a Meough we 
Darvin, chjed ghd, Meee 


Rc Bruce's Cy Va 


Of, 13 Charrtas Lisvel, eeu 44 D 


LOT’ ouUrV pve 


SIZES OF PRINTING TYPES. 


The following Standard for the bodies of Type originated by GzorGE Bruce, in the year 1822, has 
been found very satisfactory. It disturbs but trivially the sizes which are most used, while it fixes the 
body of every size in exact and correct proportion with the other sizes. This Standard is based on the 
system of Geomatrical Progression, doubling at every seventh size in any part of the series.. Hach 
size is, therefore, 12.2462+ per cent. larger than the size immediately above it, as shown in the 
following columns: 


Body larger | 
Size than that Ems and mie and 
BODY. in Decimals preceding it, in | Decimals of an Em} Decimals of an Em 
of a Decimals ina | Prise 
Linear Inch. of a Linear Foot. Square Foot. 
Linear Inch. | 
BAN Be Sor 
LOTAMOND ese sete a 0595+ 201.587+ | 40,637.46+ 
TN See Sarees 0668-4 0072+ 179.593+ | 32,253.97+ 
NCIC he A ees ae O75 O81 160. | 25,600. 
INO NIPANRINTL pees ya eee .O841-+ .OO91-- 142.5434 20,318.73-+ 
MUTNTONG eater 20S 5 09944 0103-4 126.9924 | 16,126.984 
IB RGN VILE aes Pears oe .1060-- FOiel a= 113: 187 12,800. 
BOURGHOISan === eee 1190-- 0129+ 100.793+ 10,159.36 
LONG-PRIMER ..._....... .1336- .0145-- 89.796+ | 8,063.49-+ | 
SMATI-PIOAs ees. 15 0163-4 80. | 6,400. 
lGNGi hs Cay ee 1683+ 0183+ 71.271+ | 5,079.68-+4 
DINGS EG seep e neie-. 1889+ .0206-++ 63.496-+ 4,031.74 
COMUMBIAN 2-25 es. 2.5. .21214 0231-4 56.5684 3,200. 
GREAT-PRIMER......__.. 2381+ .0259-+- 50.396-++ | 2,539.84. 
IRAIRAGONG \asc's-2ese. v2. 2672+ 0291+ 44,898-+ | 2,015.87-- 
Dovusie Smauu-Pica ..._| .3 0327+ 40. 1,600. 
DOUBT ETC Ay meeeee 3367+ 0367+ 35.6354 | 1,269.92 
DOUBLE! HNGISH = -2.._. 3779+ O41 2+ 31.748-+ 1,007.93-4 
DOUBLE COLUMBIAN ..... 42424 .0462-- 28.284 800. 
DOUBLE GREAT-PRIMER..| .4762+ 0519+ 25.198-+ 634.96-- 
DOUBLE PARAGON.......- 3454+ 0583+ 22.449-+ | 903.964 
Min ANE aes ne Ser. 2 6 0654+ 20. 400. 
WISN ONS see bf ee 6734+ OT34+- 17.817+ 3748-4 
a 
z 
d ne a Cal 
. e e> 
i SiG sel S = 
ae 2s = a a 
lon! Sia q ~~ a 
Ay D ‘is oS a Ho 
| Solas ewe 2 < d = ae) 
— ach 4 p 
S See ie og One x ag =a 
q = al a2 {ed} ro fo) 4 
=! Be 9) oa oS 7 a5 
Hoos GS) pele © & eS 2 3 <) a 
aS 25 A 5 2D 2 oe =) =) = oa. 
cee epee ee NS A = 
Bae. 2 Fe S's 2 ) = an) 
t CAy 4 os ro >), eB) H =) o) a eS) 
ey er ere “os a 
pee ee eo ety 
5 ages 8 oo aS 
fis 2.5 £8530 a 
geanee 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
3 


ae 
“yatta a 
apie 
‘fect «hb 


Yui mas 9 
, a! 


Aesth erigiy. SPH * witté , “a 


SUPERIOR AND INFERIOR LETTERS AND FRACTIONS, ITALIC FIGURES, PIECE-FRACTIONS AND COMMERCIAL SIGNS. 


and Inferior Letters and Figures; Htalte Figures, Prece- Fractions 


amd Commercial Signs. 


Superror 


SUPERIOR AND INFERIOR 
FRACTIONS. 


SUPERIOR AND INFERIOR 
RACTIONS. 


SUPERIOR LETTERS. INFERIOR LETTERS. 


PEARL. PEARL. 

+ iy i ; > Prart—No. 2. 
mphabedefghijklmnopqrstuy w xyz mphabcdefghijkImnopqrstuvwxyz Prart— No. 1. 
1234567890 1/o 


1234567890 1/2 1934567890 1284567890 


AGATE. AGATE, 
mphabedefghijklmnpoqrstuywxyz AGaTE—No. 1, 


abedefghijklmnopqrstuywxyZ 
ea ek: z AGaTr— No. 2. 


1234567880 Tip 1234567890 


NonpPAREIL. NonParEIL. 1284567890 1 
Nonparem — No. 1. [2 1284567890 


mphabedefghijkimnopqrstuywxyz 1234567890 1p 


mphal scdefghijklmnopqrstuvwxyz 
1234567890 


Nonrarer — No. 2. 


1234567890 1/9 -4034567890 


UEESHOST Minton — No. 1. 


1234567890 l/o 1234567890 


Minton. 
mphabedefghijklmnopaqrstuy wxyz mphabedefghijklmnopqrstuvywxyz 


Brevier —No. 1. Minton— No. 2. 


Vp 1234567890 


BrReEVIER. BreEVIER. 
‘ 


mphabedefghijkimnopqrstuvwxyz mphabedefghijklmnopqrstuvwxyz 1234567890 


1234567890 Io 1934567890 
Bourceors — No. 1. 


1234567890 1/9 1234567890 


* Boureeors. Bourexols. 


mphabe defghijklmnopqrstuvwxyz Breviex— No. 2. 


mphabedefghijklmnopqrstuywxyz 
1234567890 l/o 1934567890 


Lone-Prmerr — No. 1. 


aoe gah ae) 1234567890 


Smau-Pica — No. 1. 


1234567890 1/9 1234567890 


Lone-PRmeER. Lone-PRiImMER. 


pmhabedefghi) klnnopqrstuvwxyz mphabdedefghij klmnopqrstuvwxyz 


Bourerors — No. 2. 


1234567890 1/2 1934567890 


Smai-Pica. SmA.t-Pica. 


al ghijk ‘stuVWXVZ 
mphe vedefghijklmnopqrstuvwxyvz n Tolanede iohykinmopartnrecys 


Lone-Primer — No, 2. 


1234567890 1/95 1934567890 


Pica— Nol. 
1234567890 1 | 
Phe Al 


Pica. Pica. 


abedefghijklmnop« rstuvwx Vz 
mp h SS mp h abedefghijklmnopqrstuv wxyz 234567890 


OLD-STYLE ITALIC FIGURES. | ITALIC FIGURES. PIECE-FRACTIONS. 


NonParem., 1234567890$ 
Pran., . 1234567890$ BREVIER. 
Brevirr, . 12384567890 3764 
as eae a oles = : 8 1234567890 1234567890 a7 rz 4 to a 
ONPAREIL, . 12345076 : 
ee Bovrarors, 12345678908 
FE BourGEo!s. A ; 
Minion, 1234507590$ Lone-Primrr, . 12345678908 36 1644 9 J 
: 1234567890 1234367890 | £00 92790 C2 On eer 2 
7 
Brevirr, . 1B 345078908 SmaALi-Pica, . 12345678908 “4 
Lono-PRiMER. + 
3 5 amraie 4 
Rounanors 12345678908 Prea.. 12345678908 1234567890 1284567890 40 104 8 6 a - 
MONG: Mis 1234507590 $ Lone-Primer CancetLep Fieures. Saperte 6 99 5 
/ r 9§ IWS s/e5 4 
123456790 1234567890 1234567890 275 264 ! 
Smauu-Pica, . 1234567890 $ Lone-Primer Pornrep Fieures. 9 
1234567890 | Pica. a 
ce il 24 60 i 
Pica,. 1234567890$ Toner Fevers sovnepe Uicusas, 1234567890 1234567890 26 100 1020 | . 
Senay 1234567890 | 
COMMERCIAL SIGNS. 
AGATE. Mryion. Bovurexors. SMALL-Pica. 
i! 2 4 5 6 i—as 1 2 3 4 5 i i 8G) l 2 3 4 5 6 7 8 1 2 3 4 ie RE Ak 
DP th % % |] Oo | @ ib 9 oo @ 9 ° ’ 
6% aa er DEP Ib Yo 36 a! @ P tbh % %/ ° 
NONPARIEL BREVIER. Lone-Primer. Proa. 
1 2 3 4 5 6 tty 1 2 3 4 5 6 7 8 1 2 3 4.6 6 Sia eS 1 2 63 4 5 UOT 8 
- « / 
2m %H Lo! @BwR% H/o! OP dm% % | >! @3 tb % %/ © 


GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 


4 


ASTRONOMICAL, MATHEMATICAL AND APOTHECARIES’ SIGNS. 


Astronomical, Hathemalien) anf Ayotierariey’ Bigns. 


ASTRONOMICAL SIGNS. MATHEMATICAL SIGNS. 


NonpParel. PRARL. 
SOR Tel 2 V3 14." 15 
$$ EVA geese Ee Fell 
24 25 
’ 

Minion. 

8 9 

24 25 


3d 8 


Brevirr, 


14 
&) 


29 


BREVIER. 
BD e100 TE 912 
Leia eee Oc] S| 


25 26 27 28 29 30 
sev YyY <= 


Bourgeois. 


9 
18 19 _ 20 21 22 23 24 25 26 27 


suUpnuvasssAan 


Lone-Proer, No. 2. 
2 3 4 T 8 


git fel i) KE a & oh GE 
@©yoc 


1 2 3 4 5 ie ate 8 9 10 iL 12 
pt ae Bh EE CE KE ot HE Ee APOTHECARIES? SIGNS. 
13 14 15 16 
@ » ©) g NownpPaRgIL. 
1 2 3 
Two-Line Brevirr. 


4 
, 5 § 36 
4 | 2 K 5 


1 2 3 
es s) es) & | BREVIER. Bovurexols. 
Ve t 
.— 
SS 


3 1 2 3 4 5 
r 


1 2 4 
Bek Tbs <2 5 epee amu Sa 
Two-Line Lone-Primer. Two-Line Pica. : 


Minion, 


GEORGE BRUCE’S SON & CO., TypPE-FOUNDERS, No. 
5 


13 CHAMBERS-STREET, NEW-YORK. 


BRUCE’S CIRCULAR QUADRATS. 


They justify with Pica quads, and their length in Pica ems is stamped on them. Each font contains 8 each Nos. 2 to 8,—4 each Nos. 819 to 17,—2 each Nos. 1819 to 34. 


Interior. Exterior. 


Price $15.00 for the set of 


168 pieces. 


No. 
2815 


2415 


201 


181, 


161, 


101, 


blo 


6 


GEORGE BRUCE’S SON & CO., TYPE-FouNpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
6 


CIRCULAR QUADRATS. 


is 


“So 


GEORGE BRUCE’S SON & CO., Type-FounprErs, No, 13 CHAMBERS-STREET, NEW-YORK, 


ak 
i coat 
nit sa} x 


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a 


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j rv ey ” wes 


has ent i lle Wer ike Mou Dili OC ey ae 


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ee 
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is 


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Sasa’ ah hg ob ar) =f ie 
{aA nage 


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NEES eemiene a RN TE ee 


METAL FURNITURE, CORNER QUADS AND NUMBERED SLUGS. 


META Bi Ran Ure ae 


The Metal Furniture shown below has long been in use, and is invaluable for the imposition of forms. & 
Tt is cast to a PICA body from Two to Hight-line in thickness and about 12 inches long, and sold either cut 


7 


or uncut. | 
_— | 
| =a 
| 7 
| . 
. 
| 2 
* 
| a 
ay. 
| 4 
a 
| q a | 
HN TWwoO-LINE. THREE-LINE. FOUR-LINE. FIVE-LINE. | 
I] 11 oz. 4? foot. 14 02. 4) foot. L IW. 4 oz. 4 foot 1 W. 6 oz. 3 foot. 


| STX-LINE. SEVEN-LINE. EIGHT-LINE. 
ill IH 
i 1 Th. 8 02 4 foot. 1 TW. 11 oz. q> foot 1 Tb. 18 07, 49° foot. 
WAH 
| 
|) 
Hl 
® —+~<<>> + 


Pica, LONG-PRIMER AND 


? ; F : NONPAREIL. 
Corner Quads. GFow Mees, 20.) 


‘+= 
s 


SRUCES NEW YORK ¢ 


Corner Quads are cast on Pica, Long-primer 
and Nonpareil bodies, and insure a better junc- 
tion of mitred rules by preventing them slipping 
past each other. Price, 20 cts. for set of four. 


i] | Numbered Slugs. 


CIMMMWYHYZ@ VY YM MMM eo 


Style No. 1. Style No. 2. Style No. 3. Style No. 4. Style No. 5. Style No, 6. Style No. 7. 


Numbered Slugs have been in use several years in the principal newspaper offices in this city. Each com- 
positor has a few on his stand, corresponding with his number in the printing office, and drops one at the 
bottom of his matter in the proof-galleys so that his number is also proved with the other matter as the record 
= of his work. They can be furnished with either of the above faces, electrotyped and cut to the measure of 
the column, for 20 cents each. , 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHamBrErRs-STREET, NEW-YORK. 
8 


LABOR-SAVING LEADS AND QUOTATIONS. 


These Leads (and Slugs, as they are sometimes called) are cast Six 
to Pica, Four to Pica, Nonpareil and Pica in thickness, and cut to 
14 different lengths, viz: 4, 41, 5; 510, 6, 7, 8, 10, 12, 14, 16, 
18, 20 and 22 ems Pica. The smallest assortment of either thick- 
ness weighs 25 tb, and by a combination of them, for example, over 
800 medium 8vo. lines (22 ems Pica) can be leaded from a 25 fb 
font Six to Pica. 


| 


They are cut very accurately and the length of each lead stamped 
on it. No job office should be without them. The time saved in 
haying them ready cut and stamped to your hand will soon pay for 
them, and if you will, either singly or in combination, use them as 
measures for your composing sticks, you will cease to cut up leads 
for jobbing. Price, 45 ets. per tb for Four or Six to Pica; 40 cts. 


per tb for Pica or Nonpareil. 


7 T (a) 


i 


| 


| LCL UT 


Dh, A, TT 


My 


CT, AT, SEA, TT, \ 


These Labor-Saving Quotations are accurately cast, of Two, Three and 
Four lines Piea in thickness, and 4, 8, 12, 16 and 20 ems Picea in length, 
with spaces to each size. The smallest assortment of these three thick- 
nesses of all lengths weighs 40 tb, and is sold at 40 cts. # tb. They may 
be used in all cases where ordinary wooden furniture has been used. In 
large assortments, pieces of 25, 37, 49 and 62 ems Pica in length can be 


furnished to either of the three widths. 


GEORGE BRUCE’S SON & CO., TypE-FouNprERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


9 


4 


Ke - is : 
eas Pa eR Ue 


vere as gars CaM 


peep A aes 


— “ 
ited Matis & ’ 


We tlw roe 4A 


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‘pee 4 A edge " 


(to eed wie Gone Oat 
arta a 


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ai gee ee PS See a ae ie in) we 
Cee ff ee 
a | i ; 
A y * a} : 


Aang Cera NIT AD r AHATS hale 1 | mw ibe Ales Tir ih Ail (We th! 


. i : . 


Gl , - ; 7 
a e ae . 
DI. FRESE rv 
b - 
ean) 
<a iy 
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q. r rg i i 


ee 


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+ 


CHESSMEN, DRAUGHTS, SPACE RULE, PIECE ACCENTS, METAL BRACES AND CATALOGUE MARKS. 


O 
as 
O 
n 
n 
= 
O 
2) 
o) 
4 
iS) 
G 
JQ 
De 
co 
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es 
Gi 
0 


‘ 

The smallest Font of Chessmen ; > 

ee Long-primer cu contains — - bine Pica Chegsy ; 

BOs Ss a 32 pieces of No. 1—2 each Nos. 2 to 11— nw &n, ; 

s 1 2, 14 to 23—6 each 12 and 13— 24 and 25. ; q 
Also Quads. 

J 

The smallest Font of Draughts 4 

contains — 2 


32 pieces of No. 1—6 each Nos. 2 and 4— 
12 each Nos. 3 and 5. Also Quads. 


| , 
2 Oe er 


| Z YY 
| 77 7 he oe 0 
| Two-Line Long-primer Draughts. | 8 13 
al | 
| ‘ r UW iM. 
| 2 5 | 7 ¥ sn 
| | Ae | hy G GY Ve =e 
 Beecsa Wi Gow 
| rs 4 15 7 19 
Sj re ee YYwwy7, Y ; 
ME ee La &y 
Two-Line Pica Draughts. Y Y =| 
Witt, = ia 
1 2 3 4 5 29 93 25 
ee Yipes yy y yy 
2 oO VEG ; 
=e UTE aa U5, 


| 

| | SPACE RULE. PIECE ACCENTS. 
| | All these Space Rules are cast on 4 to Long-primer body, ’ 

eee ; bs A“ Diamond. 2 - = \ 4A 4 8) = 

| a Nonpareil, . .. \ SA Ace = 


Bourgeois, . ; Brevier,) ve) 1 o> NG iv A A 
Long-primer, , \ 
Long-primer, . . 


Small Pica, . = == es 


METAL BRACES.—$1.60 for the Set. 


3 AS 3 cts. 14 A | 11 cts. 
| 4 ~~ A > 3 cts. 15 a Ee cts. 
Mme er OS a Re er 
| | Of eS OE th a 18 che: 
Ce ea 8 ee ce 
Rp ee NY, LHS 19 I a pag 14 ct. 
Ee i a 0 nm ee ti 
MY Tp ena 9 che: a ee 15 cts. 
YW OE a ET CR gga 10 cts. 29 oo ee 15 ets, 
10 ots 8 eae 
(~~ \ aU cts, 2 ae 


16 cts. 


Long-primer Catalogue Marks, . . \ —_ 


The smallest Font contains—44 each of Nos. 1 and 2—22 of No. 3—11 of No. 4. 


Ss. & CO. ae vax N-Y. aX Ss. is 
Vey Weer ZEN Se? APSE? ES 


GEORGE BRUCE’S SON & CO., TYPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


10 


ENGLISH ERASED, No. 19. [3-Nick.] 


Ordered to be printed with the amendments of the Senate, viz: Omit the parts 


struck through and insert the parts printed in #falies. 


38 shell be-crdered-yCeneress-or-are provided torby-hiay: 


0) (6) Andarhenererans-departnentshatl reqaire printing te 
40) Pee he Cas ay 
41 ~ os 


44 or—bibrary-of Coneress,-that-saidprintine hasbeen -done-tnder 
46 (7) That the sum of thirteen thousand dollars, being the 
47 unexpended balance of the sum appropriated by act approved 
48 December fifteenth. eighteen hundred and seventy-seven, for 
49 printing and binding for the Library of Congress, be, and the 
50. sameishereby, reappropriated, and may be expended for complet- 
51 ing the new general catalogue of the Library, now in progress. 
52 Government Printing Office: For the construction of 
53 outside fire-escape ladders for the Government Printing Office, 


54 three thousand dollars. 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No, 13 CHamBerrs-StrEeET, NEW-YORK. 
ibe 


are ee | h vesiit) | ~~ 


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PATENT FIGURES AND FRACTIONS. 


: 


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— 910M SOLVS OT, “"pojoub 


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Ul Suraund 910}8 Ul 109309 UO paseq Ie sUOT|RIOND ILL 


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8ST 8,61 8,81 | aint ees ALVUIPILO 


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aur “FOOT @ OL 3B vuvurg “FOTW OL 7B utojso 
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GEORGE BRUCE’S SON & CO., TypE-FounDERs, No. 13 CuamBers-StreeT, NEW-YORK. 


12 


STYLE 20. 


For fuller Specimens of these Faces, see Pages at the end of this Volume. 


NonpParein, No. 20. (2-NICK. ) 

Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus 
eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium 
palatii, nihil urbis vigilize, nihil timor populi, nihil consensus bonorum omnium, nihil hic 
munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua 
consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem 
tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convoca- 
veris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! 
Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum 
yenit: fit publici consilii particeps: notat et designat oculis ad cedem unumquemque 
nostrum. Nos autem viri fortes satisfacere reipublicze videmur, si istius furorem ac tela 
yitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te con- 
ferri pestem istam, quam tu in nos omnes jamdiu machinaris. An vero vir amplissimus 
P. Scipio pontifex maximus, Tiberium Gracchum mediocriter labefactantem statem rei- 


ABCDEFGHIJKLMNOPQRSTUVWXYZAE& 


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Contemplation 
Upon the mystery of MAN’S regeneration in allusion to the JZystery of PRINTING. 


GREAT blest MASTER-PRINTER, come 

Into thy Composing-room ; 

Wipe away our foul offences; 

Make, O make our souls and senses 

The upper and the lower cases ; 

And thy large alphabet of Graces 

The Zetter, which being ever fit, 

O haste thou to déstrzbute it. 

For there is (I make account) 

No Imperfection in the Fount. 

Tf any Letters face de foul, 

O wash it, ere it touch the Soul; 
 Contrition be the brush; the Lye, 

Tears from a penttential Eye. 


Thy Graces so distributed 
Think not thy work half finished ; 
On still, O LORD, no time defer, 
Be truly a COMPOSITER. 


ABCDEFGHIFELMNOPORSTUVWXVZAGE & 


Minton, No. 20. (3-NICK.) 

Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? ni- 
hilne te nocturnum preesidium palatii, nihil urbis vigiliae, nihil timor populi, 
nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus 
locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis ? 
constrictam jam omnium horum conscientia teneri conjurationem tuam non 
vides ? quid proxima, quid superiore nocte egeris, ubi fueris, quos conyo- 
caveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tem- 
pora, o mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit ! 
imo vero etiam in senatum yenit: fit publici consilii particeps: notat et des- 
ignat oculis ad ceedem unumquemque nostrum. Nos autem viri fortes sat- 
isfacere reipublicze videmur, si istius furorem ac tela vitemus. Ad mortem 


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Take thy composing-Stick in hand 
Thy holy word, the firmest band ; 
For sure that work can never miss, 
That's truly justify’d in this. 
The End of Grace's distribution, 
Is not a meer dissolution ; 
But that from each part being cited, 
They may be again united; 
Let righteousness and peace then meet, 
Mercy and truth each other greet ; 
Let these Letters make a Word, 
Let these Words a Line afford, 
Then of Lines a page compose, 
Which being brought unto a Close, 
Be Thou the Direction, LORD, 
Let Love be the fast-binding Cord. 
Set O LORD, o set apace, 
That we may grow from grace to grace ; 


ABCDEFGHIFKLMNOPORSTUVWAVZAES®S 


I WHEN SPECIALLY ORDERED, the characters ¢, f, th, fi, fk, fl, ff, fi, fl, % (Roman and Italic), can be furnished to ALL fonts of this style. 


Brevisr, No. 20. (2-NICK.) 

Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos 
etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit au- 
dacia? nihilne te nocturnum presidium palatii, nihil urbis vigilize, nihil 
timor populi, nihil consensus bonorum omnium, nihil hic munitissimus 
habendi senatus locus, nihil horum ora vultusque moyerunt? patere tua 
consilia non sentis ? constrictam jam omnium horum conscientia teneri 
conjurationem tuam non vides? quid proxima, quid superiore nocte ege- 
ris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum 
ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul 
videt: hic tamen vivit. Vivit! imo vero etiam in senatum yenit: fit pub- 
lici consilii particeps: notat et designat oculis ad caedem unumquemque 


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Till tow’rds the Chace we nearer draw, 
The two strong Tables of thy Law, 
Of which the wo firm Cvosses be 
The Love of man, next after thee, 
The Head-sticks are thy majesty ; 
The Foot-sticks Christ’s humility ; 
The Supplications of the Saints, 
The Side-sticks, when our faith e’er faints ; 
Let the Quines be thy sure election, 
Which admits of no rejection, 
With which our Souls being join’d about, 
Not the least grace can drop out. 
Thy Mercies and Allurements all 

- Thy Shooting-stick azd Mallet cad/. 


But when all this done we see, 
Who shall the CORRECTOR be? 


ABCDEFGHIFKLMNOPORSTUVWXYVZAES 


Boureegors, No. 20. (3-NICK. ) 


OQuousque tamdem abutere, Catilina, patientia nostra? quamdiu 
nos etiam furor iste tuus eludet? quem ad finem sese effrenata 
jactabit audacia? nihilne te nocturnum preesidium palatii, nihil 
urbis vigiliae, nihil timor populi, nihil consensus bonorum omni- 
um, nihil hic munitissimus habendi senatus locus, nihil horum 
ora vultusque moverunt? patere tua consilia non sentis? constric- 
tam jam omnium horum conscientia teneri conjurationem tuam 
non vides? quid proxima, quid superiore nocte egeris, ubi fueris, 
quos convocaveris, quid consilii ceperis, quem nostrum ignorare 
arbitraris? O tempora, o mores! Senatus hoc intelligit, consul 


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O, LORD, what Thou se?’s¢ cann’t be ill, 
It needs then no CORRECTOR’S skill. 


Now tho’ these Graces all are sez 
Our hearts are but WHITE PAPER yet; 
And by Adam’s first Transgression 
Fit only for the worst /pression. 
Thy Holy Spirit the PRESS-MAN make, 
From whom we may perfection take ; 
And let Him no time defer, 
To print on us thy Character. 
Let the ink be black as et ; 
What though? It is comely yet, 
As Courtains of King Salomon, 
Or Kedars tents to look upon. 


ABCDEFGHIFRLMNOPQRSTUVWXVZAEE& 


13 


GEORGE BRUCE’S SON & CO., Typx-Founprers, No, 13 CHAMBERS-STREET, NEW-YORK. 


For fuller Specimens of these Facés, see Pages at the end of this Volume. 


STYLE 20. 


LonG-PRIMER, No. 20. (2-NICK. ) 

Quousque tandem abutere, Catilina, patientia nostra? quam- 
diu nos etiam furor iste tuus eludet ? quem ad finem sese 
effrenata jactabit audacia? nihilne te nocturnum presidium 
palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus 
bonorum omnium, nihil hic munitissimus habendi senatus lo- 
cus, nihil horum ora vultusque movyerunt? patere tua consilia 
non sentis ? constrictam jam omnium horum conscientia ten- 


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Be Victory the Press’s Head, 
That o’er oppression it may tread. 
Let divine Contemplation be 
The Skrews, to raise up to Thee, 
The Press’s two cheeks (unsubdu’d) 
Strong Constancy and Fortitude ; 
Our slavish flesh let be the 727, 
Whereon lay what Zyash you will, 
The Nut and Spindle, Gentleness, 
To move the work with easiness : 
The Platten zs Affliction, 

Which makes good Work being hard set on : 
The Bar the Spirits Instrument 

To sanctifie our punishment. 

The Blankets a Resemblance hath 

Of. Mercy in the midst of Wrath. 


ABCDEFGHIFKIMNOPQORSTUVWXVZAGE& 


BV 


(= WHEN SPECIALLY ORDERED, the characters ¢t, {, fh, fl, fk, fl, ff, ffi, fl, ft (Roman and Italic), can be furnished to ALL fonts of this style. 


RiGaeeNOsec0): (2-NICK.) 


Quousque tandem abutere, Catilina, patientia 
nostra? quamdiu nos etiam furor iste tuus elu- 
det? quem ad finem sese effrenata jactabit au- 
dacia? nihilne te nocturnum presidium palatii, 
nihil urbis vigiliz, nihil timor populi, nihil con- 
sensus bonorum omnium, nihil hic munitissimus 


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The Footstep, humbleness of mind, 
That in it self no worth can find. 


If there be such a chance as this, 
That any Letter batterd is, 
Being come unto thy view, 
Take it out, put in a new, 
Or of Satan that foul Fiend, 
Marr, with a pretence to mend, 
And being at thy goodness vext, 
Makes blasphemy of thy pure text; 


MBUCDIHEGIH/JRLMNOPORS LUVWX 


SMALL-PICA, No. 20. (3-NICK. ) 


Quousque tandem abutere, Catilina, patientia nostra ? 
quamdiu nos etiam furor iste tuus eludet? quem ad 
finem sese effrenata jactabit audacia? njhilne to noc- ~ 
turnum presidium palatii, nihil urbis vigiliae, nihil timor 
populi, nihil consensus bonorum omnium, nihil hic mu- 
nitissimus habendi senatus locus, nihil horum ora vul- 


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The Frisket, thy preventing grace 
Keeps us from many a sully’d Face. 
CHRIST JESUS is the Level Stone, 
That our Hearts must be wrought upon, 
The Coffin, wherein it doth ly, 
Is Rest to all eternity. 
The Cramp Irons, that it moves on still, 
Are the good motions of the Well. 
The Rounce, the Spirits inspiration, 

. Working an holy Agitation. 
The Girts, the Gift of Continence, 4 
The Tether of thunbridled Sense. 
The Winter, whereon all doth ly, 
Ls patience in adversity. 


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Quousque tandem abutere, Catilina, pati- 
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Find it, O LORD, andithen 

Print our hearts new o’er agen. 

O LORD, unto this work make hast, 
‘Tis a work that long will last ; 
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Work a reiteration. 


Extract trom 
‘HISTORY OF THE ART OF PRINTING 
J. Wilson, Edinburgh, 1713. 


ABCDEFGHIFKLMNOPORS hh, 4 


GEORGE BRUCE’S SON & CO., 


TYPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


14 


STYLE 20. 


GREAT-PRIMER, No. 20. 


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DouBLE SMALL-PICA, No. 20. 


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DousBLE GREAT-PRIMER, No. 20, ITALIC. 


Quousgque tandem abutere, Cathna, pat- 
entia nostra? guamdin nos eham furor ts 


ABCDEFGHIFKLUNOPGS 


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IN TYPES BY sNIGHOLAS JENSON@ ORV NICE 


Two-LiInE NoNPAREIL OLD-sTyLe, No. 100. 


WHE OLD-STYLE FACE SiN EB Ys G12 33 pis GARAMOND, PARIS, 
WAS POPULAR FOR MANY YEARS. 


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GEOR FREY Shin eis PARIS, MADE RULES FOR | 
THE TRUE PROPORTIONS OF s@ Biss iia 


Two-Line LONG-PRIMER OLD-STYLE, No. LOO. 


‘CHRISTOPHER VAN DJICK, @ 
A FAMOUS DUTCH TYPE-FOUNDER@ 


Two-LiInE Pica OLp-sTyLe, No. 100. 


DIRCK VOSKINS S@iew TYPE 
TO ENGLISH PRINTERS 


T'WO-LINE GREAT-PRIMER OLD-STYLE, No. 100. 


A QUAINT OLD-STYLE 
GUILLAUME LE BE 


GEORGE BRUCE’S SON & CO.,, TypE-FouNDERS, No. 13 CHamBers-STREET, NEW-YORK. 
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GEORGE BRUCE’S SON & CO., Type-FounpErs, No. 13 CHAamBrrs-Srrret, NEW-YORK. 


18 


STYLE 13. 


For fuller Specimens of these Faces, see Pages at the end of this Volume. 


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GEORGE BRUCE’S SON & CO., Typr-FounpEerS, No. 13 CHAMBERS-STREET, NEW-YORK. 


19 


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"(61 abnd woul panuyuop ) 
Ua d Vd 


(HOIN-Z) ‘TL °ON ‘MALVOV 


(HOIN-@) ‘VE “ON “TIHUVINON 


(CMOIN-@) ‘FL °ON ‘NOINIM 


(MOIN-€) ‘TL ‘ON ‘NHIAGUE 


; ‘PHOS pues spveyT volg-0}-xXIg YIM pesodurop 
‘suryuLIg 1edvdsMoN JO 1ouUeU ot} Ul UMOYS pus “YIOX-MON “OO BF NOS SONU ADUOAYD Aq ysvO 


NACE DoOOwW WA" LALLS 


= 


GEORGE BRUCE’S SON & CO., TYPE-FOUNDERS, No. 13 CHampBers-Struert, NEW-YORK. 


20 


STYLE 15. 


For fuller Specimens of these Faces, see Pages at the end of this Volume. 


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pid “he. piutivente i set a 
elif ithe sili iy a: re rhiy 
toteaaayy wit et boi aT 
heayrsl wf mi Salad 


Pir 


STYLE 16. 
For fuller Specimens of these Faces, see Pages at the end of this Volume. 


= AON ‘oer}e-S1aqUIET ET ‘ON 


“OO » NOS SGONUd “OD 
Aq eyes 10F ‘poutpun pure pouty ‘sfoypey sseag ‘soysuq ssvig 
‘sony Suravg-1o0qey ssvag *woey} yy 0} stsuI0DH TeyueUTEU 
“MO CNV ALHIUVA LVAYD AYHA NI SATNA SSVA 


‘A. 'N ‘Jo0a4s-sroqureyy gf ‘ON “OO Y NOS SONU ‘ONY 
‘STOMJORJNUBUT UMOUY [TOA SNOTLEA 


uroaz ‘sotqryenb pur soorad [ye Jo ‘ozuoarg pue ysture A ‘syUTy, 
‘dXUO10N ‘CUVO MOO ‘SMAN—MNI ONILNIY 


EASING Heee eSroCUs UO ST FON: 
00 ¥Y NOS Smonud OAD Aq seomtg Sacompormnur 
ye plos ‘YOM LOULOP SIOJULIG JO Spury [Te pue ‘syourqep 


‘SNTON ‘AVALINUAM SANVILS ‘SASVO ‘AdAL GOO 
“aIMAT Sse 492F 000 ‘OL 


‘oap ‘saepaog ‘s}yueureuIG 


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od], SMON PUL YOO ULTMOY “AT 000'00Z 
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set1muenb ut ‘Kaoatjop aoz Apwoa ‘puvy uo oavy ‘Ya1OK-MON x) 
“LS-SUAANVHO 61 ON “OO ¥ NOS SMONUd AOUOT 


wi6S8E Bopuory 
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0} Super SMOTYBOYTOVdY Fo squouspraqy ,, oy} WOT, Woxey ST 
sosed Surpoooad anoj oy} puv osvd styg Fo aoqgeur oy, 25) 


, Soumour sv system wor posn 
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(c FUSTIOYVS ST, ,, “BLO ULRASLAYH oY} edozoq soLaMqusod eur JUeE 
-M) 919M SULOD JOATIS PUL P[OS FLY] UIBOT OM TOL UVULOAZ ‘VTLOUL 
-epeovry Ul JUeIIMO AsATIS puv pjos Fo yey} coz Aouow azaddoo 
payngysqns sndimoAT yey} sn suraoyut (‘sanoATT ur) Yoavyntg 
*(s0g ‘d -qiq) erenbs poquepur ey} FNOyILA puv TYLA YZOq suTOD 
DAVY OM YOLVUOUL STU} JQ ‘O “A TLE 0} L6G WOay poustea oyM 
‘TI sugsnsny Fo usted oy] [YUN weoddvsrp you seop YorTLM yarvuL B 
‘(cog dt “ur09 “draoseg ‘yeuuory_) erenbs peyueput oyg surqiqMy 
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jo Sury “T depuvxepy FO Usted OY} UL 9DUET[9OXE JO seasop eULOS 
poeurezyye pey 4t yyy eoUSPTAS UTeJ199 ysOUL BABY OM VsdEUTOD 
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-eOV YOUIAT OT} FO Seatourep[,, Pes ng ‘gy "dt w10} ,,‘onbywur 
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eseyy jo odAy oy, ‘sejduexe qsorjaeve o49 Suowe posed pus 
poeysMSuUYysSIp sny} ev VULSH JO PURIST 9Y9 OF poUstsse osoyy 
puB ‘UOT}eJUSPUL 10 AZLAVD B OPIS BUO TO 9ABY JWETOUR JSOuE 9q 04 
peMOT[V 91B JUSMOD [eSAeArUN Aq Ory ,, (,,;eSVULOH FO UISIIG ,, 
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FO euIOS pue ‘TeATIS pue pos Jo Aouow poutoo 4say suerpAT oy 
qeyg shes (~6 9 "L*QI]) SnyopoasyY “uorurdo sty FO JOU ere Sa9qTIM 
JUELDUB UTBI00 Fey} UMOTY [JOM St 41 4nq :sutoo pedureys opm 
4sry 079 pus ‘somMsBoUT PUL S}PYSTIOA JO LOJZWOAUTT OY} SBA OATBIV 
oY} UOPIY VY} WOIIpRay & poystxe etsy] syoory oy Suoury 
=a e090 
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s[vuuy) Uosaoydovp, “ssuLMBAp are er0T] etoymM ‘T Gow ‘g ‘deyo 
‘goas ‘tit 'd ‘aqreay, NVeANON OsTe veg “sdureys PBUTSTIO oY} MOAT 
suotsseadurt ore o1ey} etoym ‘yg pure gg “dd ‘gTgT ‘*puory ‘044 
POOM WO BuLAvIsU Jo puwe SuyULIg JO UlstaQ 9} Jo suoTy 
-VAJSUTT WIA ‘spavpy sursvtg Fo Ar04stp] OY} OFUT soyorvaseyy ,, 
WIBUTG I9T[P MM [oNULeEg—,,Aorjod 09e4s Fo UOsved oULOS 10F4dopL 
0} esooyD Jou prp puv 4r YAM pezurenboe arom Loy yey esod 
-dus oa ssejun ‘u1eyy Aq pastyowad weeq Sutavy sy}t Jo soueprtae 
SuTULvUIEL OU Wee SvY o1ETy Jeyy ATvUTpPOVsyxX ATNAy ST 4T YeYy 
pastjowad 4ysay se duryurad Fo 4xe oy} 0} youordde aeou ev yons 
jo sojduexe paoye ‘suvuoy oy} Suoure esn ut ‘oa ‘spoos jo 


syreur ‘soureu ‘surersouour Jo Suystsuos ‘sdureys [eyour 10 ayprd 

wns, “(E12 ‘gost “pe ‘osy) Seddoyg Jo e[sy ey} Jo opts ysvo 

aq} UO pue JUS UL LeATNoey IBEU SpURS OT} UL puNoF Udsq 9AeY 

sdurezs esey} yt pesseaduat Areqqgod jo seserd perpuny Aue 

‘(Mlooy ezMorg) WMesn, YSsyIag 94} ut uses eq Avur [eqour 

Fo soerd pros ewo Ut (O1[SvyUt ut Moz outros) sdureys TyUMATY 
‘SNIOO GNV SdWViLS 


a ———— = = 
“ACN ‘oaqys-stoqueyg gT “ON ~ 5 ROTI te 
“OO ¥ NOS S.40nud ADUOAD 

“Bolg Sule ZZ 0} F WO Surfer 
‘sy}Su9] JUOTOYIP W9o}MOF SUe{U0d YUOF YORE ‘ozs Ioy}1e 
jo spunod ez jo syuoy ur ‘vorg pue ploreduoy ‘votg-04-9 
‘VOIL OL? ‘SOOIS GNV SGVAT ONIAVS AOdV 


“AN ‘Jo0ns-s1oquieyy €T “ON 
“OO 9 NOS S.Honud ANWOTY), 
‘aseyoimd Jo oul] 42 SN WAALS oq BOOM Jr 
‘9d4y Mou Joy oSueyoxe ul ‘seyer Jue ye paatwo 


“WU ad TUM FYAH GHYAAITHUC AdAL AT 


"ACN {J0oqj}s-staqureyy eT ‘ON 
“OO ¥ NOS S.HONUd ADWOUD 
“ATWO ysND IOF 
Sood SIAIMJOVJNUBUT 4B POSING spe suyutg «oyy0 
Ty ‘Asatop toy Apvor soatoys oy} uo oavy MOT OM TONTM 
‘eolleury ul sedAy, Suu JO yoo4s ysa.orey ayy ‘ysnO L 
a0d WIVS BOX UMAAO AM—SUALNIAd Or 


“yi ssossod Mou aM YOU 
Ul e}2]S oY} 0} ATTVYUOSse yYSnoIq sea Suyud jo yw oy 
‘jo0}s poueprey Fo sayound Aq asodind sty} toy sooryeut jo 
WOYBULIOJ 9 puw YByeur ut sodA} aso} Jo Suysevo yy ‘sod Ay 
aiqveaout fo yueutsojdura oyy ‘Apaumeu ‘payeo1put aaoqe 
sjuemosAordut eery} oy} Jo uoydope oy Ag ~ZogT ‘eoae 
-Avy “oyp ‘Saequeny uver ap senbiydersodAy, suaut 
“NUOW SET IMs ess ‘“ayOsty ‘oeT ‘ect “dd ‘“spoa g “porqig 
ap oI ‘jyoubwg ves ‘S1aqueyny Aq poysipqnd sytom Fo 4stp 
B10 “OCFL ‘Sp(Mour ur 4svo sAayyoT WO’Z puB ! OGPT ‘TByour 
ut Ajoyeredas yno siaqye, Wo SgeFtT ‘poom ut Aje}eredas 
quo Slave, Woy egpp~ ynoqge ‘syoo;q wor Suyumg—: Lyd 
-eLsod Ay, SpivsueyT Ul WAALS oIB sayep SULMOTLOF oJ, 
“snjsne gy “Iq pax [lAeq ayy JO A104s oy} aoUETT 
‘got “d ‘Areuoyoiq sAeproduny, “6, “d ‘Gg ‘toa “(OF8T “a “V) 
‘Aoy ‘MVny veg -g ‘dt ‘joa ‘ueuoopy ,3 Suyumg Ape ,, 
JIU ‘OIMYRIIVT JO sayisouNgD s,ljoRisiq—,,WoyUeaut pngosn 
SI] JO UONVIoepIsuoo UL MOYNOVSAed [Te UOT WHIT, pasareyostp 
oy ‘svg JO JUOUIVIPBA oY} 0} WAV sy [BOAOI 0} ‘aLyUOG 
B ULOIE J[OSMI OAKS 0} ‘paSiqo sva YZSuIT, ye ysneR,Z,, 


—————___—= 00 


oc ASP Ot} TTA 
ONSV9T UT svA oT yey poesSpn{pe AyTutmojos sea 41 pus ‘poorq 
Stq oq 0} pres svam sordood sty paystjeqme Yorpa (quel, 
Taq Apretjnoed st yur per sysney pue) YU potoyg, “punoy 
alam setdoo Jo Jequinu yeors B SSULSpoT sIy Suryorees ul 
pue ‘UBIOLseU v sv LITT YSUTeSR soyRYSLseUT oy} 0} UL MEALS 
aIOM SUOYBVULLOJUT “IOPUOA oY} poasverout sordoo ayy jo 
Ayuaroziun oyy, “‘eowd sip peiaMmo] vase puv ‘payuva ora 
Say se qysey sv soidoo peonpord oy wo atow [[yYs pue 
{UOUTTSMMOYSB TBSIOAIIN posvet sly} ‘QQG pepuBUEp saqr1os 
INYO Ol} STA ‘suMorO OQ ye satdoo sty [[os 0} porqeug ,, 
“SSW sv utey} Jo asodsip 0} potoavepue oy o1oyM ‘suEg 0} 
Woy) petimeo ‘atqig ey} Jo sordoo Jo tequnu o[qetepisuoo 
B yo poyuud Suey ysney yey} pees st yf “TFET ‘uonoy 
“oag ‘stojsuey “FT ‘gy avd ‘sounadwt somoy,p sorquvy stow 
-eid sop sjuewentO se] mms ya ‘voy uedoyT up s}osnueyy 
sep omdeisyeg el ams wessy ‘got ‘aptoduiy, 
yey} wt peydope useq eaey 0} pesoddns st (azep ayy zo 
SSUYIIM "QT ot} ur pasn yey) sodA, oy} Fo woz oy, 


“MOTA 


“yt aL 
peXojdure 010M oy TTB uodu pasodurt useq aavy 0} Aooa008 
JO yvo ue pus ‘paypeou0s Ajasodimd usaeaq oavy 0} pres 
WOAD SI UOUSAUL oy, “UOtMUTOD sUTROGq ou s,coquLtd 
ay} Surmtolqns 10 Surxyerd so aoyovad oy} oyep YOUN Toye 
CFL Ul “leyoyog pur qysney Aq uourmored jo ovard ef3 
-“uis @ uo poyutd “4 wpoyo.AT wWnLoLUabnpUT #B.LaZVT SBM 
ayVp B TIM ponsst Yoo ysay ory, 
ere ssord ay} Jo suoyonpord ysatrve ay} 4B} PoAresqo oq 
plmoys }t ‘uoysenb siyy Jo AyumMosqo oy} Loy yuNoDDe OY, 


‘ayBp IO. oUlvE yoy 


—f FO JUIIUO}IS OY} Jey VAST[Iq 0} poy Useq oAvVyY JT 
‘{g1aA0r09 Joop AuB WO.AT 9a.1f doay 0} Sutsoavopua 
OTM 4Vy wees oq ‘1aAOMOY ‘TILA 9] ,,—: (HE ‘poaquy 
‘gegt ‘vorydeasoddy, vidioung) Aqeyog apy ‘ool 
-qus 9Y}] UO IojLIM Jso}v[ oy Aq 1B SyIVUIEI SULMOT 
OF OT, IE O} YAIq OAVS YIM seouRJsuUMOITD oY} 

[OVX MOTY OF JI UOT IBF 00} puv ‘souONyUL syt Jo 
Ajayeandov ospnl 0} Sunutid yo AtaAoodsrp ayy Fo yoode 
oy} Tau 00] OATT 9AA,, ‘NOUNV 0} Surpaod9R ‘10 


J SSoUyIVp UL pvey UAO sit sepry ‘SsuTY] s9TJO ysoun 


0} 4YSI] uaALS sey ory ‘Sunug Jo wy ey,, wt 
‘gepluoxG Jo yArvUIA. OT] SuLeq ona os “yoolqns poAfoA 
-Ul pue 9}VOLIVUT 4ySou yng YuRytodwur siy 0} Sunepet 
Joys Suramoypoy ey} Jo ydeoov oj pesveyd oq ]pLAX 
TOpVat OTL], ,—? (W WAXXXT) s1m990 asvssed SuLMoT[oy 
a} {UOXVD JO JUNODDW euIOg,, papyus ‘soymbyuy 
jeordvasoday, surpqiqg 0} pexyeid epyie uy, 


mn 0 ee ge 


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punoy oq [ta ‘Aydvisod.4y Jo WoNMEATI puv ULST10 oy} 
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e Sutpnputr ‘Suyurd jo ye puv A109sty] oY} WO SyTOAM 
JO (SIT VW “YAOM yey} FO oUINJOA ysy oY Jo pus oy} 4B 
WAALS st ‘SotjMbyuy peorydeasoddy, sty Fo uoyepidutos 
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qsiT vy ‘goolqns ewes oy} uo poazveddy savy sosyven 
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sem oyndstp oy} e10foq ‘z{MeT 10.y—: SMOTIOJ SB ‘OFOT 
“tog “oyp ,‘wvorypde8odéy, syuxry nussorsoid yo ny10 
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joalqus sty, uo peysttqnd sy10M oy) Jo 4ST] atom W 
SLOTNE sAtoodsar 
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ne ‘1eypsty ‘up1eqG Youlquiey Fo sesyven JuEDeL 
ayy “Aqojyorjsyes pue ysnf scour wseq aavy ‘oesnodsa 
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se ‘sroydvisorqiq uRIsIiVg oy, 27 07 “ay paysin 
0 paraouos pey Loy} sv gnq ‘sua AT[Vat oys sv jou 
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APEUUYPUL UBULLOVTY pur ‘WapwRT] FO SUITEP oT) 0} LOY 
-19}}8 9T}JTT 00) pred sey ‘peaore oq 0} suleas MoU SB 
‘TeyouIop, “Sanqse.yg pur zyuepy 0} Sunurad Fo 4.1v oy} 
poteaoosip Suravy jo wyed ay) 9ALS 04 wey poeouput sop 
-18 oYotayed ox] B pu ‘wowlay B SVM NAMANIAE ,, 


, nar SIE IS : 
| Wey] paouettadxe puv aynoe oq} Aq AytMeAes yONut 


sahentiae ies 


00} YA sdequed paxyorye uaeq eavy TOTTI ‘S.10.1.10 
SSOL5 WOT 9d1Z Jou st yt JoA ‘QoULTIOFL0d SII] Ssos 
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av8 O} UOISSTULIed SNOLINS oY] SUIALS UT [BleqIT pue 
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WaT ‘UayRaqnop Aq poavssue ATNFQNVaq ‘194809 
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sty yytas orfqud a1} atoyaq poreadde ay ‘10M ase] 
siq jo uotureds v se oumMjoA OAR}O [[RUIS B Sut 
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jo JueuyoRye Suo.ys eyy, ‘uordureyo pomoar ayy 
SB NO Jes oY osned ssoyM UT ysyae peorydessod Ay 
yey Jo pue Ayunoo yey. jo sump oy} suonoal 
-(O d[QupruLtoF sour ayy y.snoawyy yoddns 0} a9yr1A 
yova jo UoTRULtMIajep oy waeq sey sunutid jo 
ssorsoad pue uLst10 ay uodn sesyved Surpedoad [ye 
soupy ur 4ruaqns A[quMY JT 8B “O11 4BaL5 OUT, ,, 


——____—~-00--______ 

(CU Txxx 'd , ‘Sunuitg peyueurenig pue Suravisugq 
Aja uo uoutsmbsrq Aaeuronparg,, “yuy “d4yz) 
SYAVUIIT SULMOT[OF oy} Svy Ysne sy PUB S1equayyny, 
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GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


22 


STYLE 21. 


For fuller Specimens of these Faces, see Pages at the end of this Volume. 


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(MOIN-@) *LS °ON ‘NOINTM 


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‘SuljuLtIg radvdsMmoN jo 1L9UUVU 9} UI UMOYS puv ‘“YIOZ-MON “OO FY NOS 9.c0 0a ADUOAY Aq 3S¥O 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CuamBers-Srreet, NEW-YORK. 


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DIAMOND, PEARL AND AGATE. 


For fuller Specimens of these Faées, see Pages 142 to 151 and 165 at the end of this Volume. . 


Dramonp, No. 16. (2-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tnus eludet ? quem ad finem sese effrenata 
jactabit xudacia? nihilne te nucturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum 
omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moyerunt ? patere tua consilia non sentis? 
constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, 
ubi fueris, quos conyocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora,o mores! Senatus hoc 
intelligit. consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum yenit: fit publici consilii particeps : notat et designat 
oculis ad cedem unumquemqne nostrum, Nos autem fortes: satisfacere reipublice videmur, si istius furorem ac tela 
vitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat:; in te conferri pestem istam, quam tu in nos 
omnes jamdiu machinaris, An vero yir amplissimus P, Scipio pontifex maximus. Tiberium Gracchum mediocriter Jabefac- 
tantem statum reipublice privatis interfecit. Catilinam vero orbem terre ewde atque jacendiis vastare eupientem nos consules 
perferemus? nam illa nimis antiqua preterea, quod Q. Seryilius Ahala Sp. Melium, novis rebus studentum manu sua occidit. 


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Prart, No. 11. 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? 
quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum pres dium palatii, nihil urbis 
Vigilie, nibil timor populi, nihil consensus bonorum omnium, nihil bic munitissimus habendi sena- 
tus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam 
omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore 
nocte egeris, ubi fueris, quos convocayveris, quid consilii ceperis, qaem nostrum ignorare arbitraris? 
O tempora, 0 mores! Senatus hoc intelligit, consul videt; hic tamen vivit. Vivit! imo vero etiam 
in senatum venit, fit publici consilii particeps: notat et designat oculis ad cedem unumquemque 
nostrum. Nos autem viri fortes satisfacere reipublica videmur, si istius furorem ac tela vitemus. 
Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te confe estem istam, 
quam tu in nos omnes jamdiu machinaris. An vero vir amplissimus P. Scipio pontifex maximus, 


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(3-NICK.) 


PEARL, No. 16. 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem 
ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilie, 
nihil timor populi, nihil consensus bonorum ommium, nihil hic miunitissimus habendi senatus locus, 
nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum 
conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris 
quos convocayeris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! 
Senatus hoc intelligit, consul videt: hic tamen yivit. Vivit! imo vero etiam in senatum venit: fit 
publici cor i particeps: notat et designat oculis ad cedem unumgquemque nostrum. Nos autem viri 
fortes satisfucere reipublicee videmur, si istium furorem ac tela vitemus. Ad mortem te, Catilina, duci 
jussu consules jam pridem oportebat: in te conferri pestem istam quam tu in nos omnes jamdiu ma- 
chinaris. An vero vir amplissimus P. Scipio pontifex maximus, Tiberium Gracchum mediocriter libe- 


ABCDEFGHIJKLMNOPQRSTUY WXYZMGBE& 
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(2-NICK. ) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiw nos etiam furor iste tuus eludet 2 
quem ad jinem sese efrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil wrbis 


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PEARL, No. 20. (2-NICK. ) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? 
quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum preesidium palatii, nihil urbis 
vigilize, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi sena- 
tus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam 
omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore 
nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? 
O tempora, 0 mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam 
in senatum venit; fit publici consilii particeps: notat et designat oculis ad caeedem unumquemque 
nostrum. Nos autem viri fortes satisfacere reipublicae videmur, si istius furorem ac tela vitemus. 
Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te conferri pestem istam, 
quam tu in nos omnes jamdiu machinaris. An vero vir amplissimus P. Scipio pontifex maximus, 


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PEARL, No. 21. (2-NICK.) 


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ora vultusque moverunt? patere tna consilia non sentis? constrictam jam omnium horum conscientia 
teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convo- 
caveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 0 mores! Senatus hoc 
intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum venit : fit ‘publici consilii 
particeps: notat et designat oculis ad cedem unumquemque nostrum, Nos autem viri fortes satisfacere 
reipublice videmur, Si istius furorem ac tela vitemus, Ad mortem te, Catilina, duci jussu consules jam 
pridem oportebat : in te conferri pestem istam, quam tu in nos omnes jamdinu tmachinaris, An vero vir 
amplissimus P, Scipio pontifex maximus, Tiberium Gracchum mediocriter labefactantem statum reipubli- 


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Agate, No. 11. (2-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste 
tuus eludet? quem ad finem sese effrenata jactabit audacia ? nihilne te nocturnum pre- 
sidium palatii, nihil urbis vigilize, nihil timor populi, nihil consensus bonorum ona 
nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt 
patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri con- 
jurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos 
convoeayeris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 0 
mores! Senatus hoe intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam 
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Acats. No. 12. (2-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor 
iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne to noc- 
turnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus 
ponorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora 
vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium ho- 
rum conscientia teneri conjurationem tuam non vides? quid proxima, quid supe- 
riore nocte egeris, ubi fueris, quos convocaveris, quid consilil ceperis, quem nos- 
trum ignorare arbitraris? O tempora,o mores! Senatus hoe intelligit, consul 
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AGATE, No. 18. (2-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste 
tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum 
presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum om- 
nium nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque move- 
runt? patere tua consilia non sentis? constrictam jam omnium horum conscientia 
teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi 
fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? 
O tempora,o mores! Senatus hoe intelligit consul videt: hic tamen vivit. Vivit! 


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AGATE, No. 14. (2-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus 
eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium 
palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum omnium, nihil hie 
munitissimus habendi senatus locus, nihil horum ora yultusque moyerunt? patere tua con- 
silia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam 
non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocayeris, quid 
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AGATE, No. 15. (2-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? 
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tus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam 
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Acats, No. 21. (3-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus 
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munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua 
consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem — 
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quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus 
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GEORGE BRUCE’S SON & CO., TypE-FounpErs, No. 13 CuamBers-Street, NEW-YORK. 


. ) 


NONPAREIL. 


For fuller Specimens of these Faces, see Pages 110 to 141 at the end of this Volume. 


Nonparein, No. 11. (3-NICK. ) 

Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor 
iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne to noc- 
turnum presidium palatii, nihil urbis vigilice, nihil timor populi, nihil consensus 
pbonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora 
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horum conscientia teneri conjurationem tuam non vides? quid proxima, quid 
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silii particeps: notat et designat oculis ad caedem unumquemque nostrum. Nos 
autem viri fortes satisfacere reipublicee videmur, si istius furorem ac tela vitemus. 


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ABODEFGHIJKLMNOPQRSTUV WXYZAGE 


Nonpareit, No. 12. (3-NICK.) 

Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? ni- 
hihete nocturnum preesidium palatii, nihil urbis vigilie, nihil timor populi, 
nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus 
locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis ? 
constrictam jam omnium horum conscientia teneri conjurationem tuam non 
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veris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 
0 mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo 
yero etiam in senatum venit: fit publici consilii particeps: notat et desig- 
nat oculis ad ceedem unumqueinque nostrum. Nos autem viri fortes satis- 


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ABODEFGHIJKLMNOPQRSTUVWXYZEGE ; 


os 


Nonpareit, No. 13. (3-NICK.) 
Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor 
iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te 
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jam omnium horum conscientia teneri conjurationem tuam non vides? quid 
_proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii 
ris, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc 
intelligit, consul videt: ‘hic tamen vivit. Vivit! imo vero etiam in senatum 
venit: fit publici consilii particeps: notat et designat oculis ad ceedem unum- 
quemque nostrum. Nos autem viri fortes satisfacere reipublice videmur, si 


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$ 1234567890 £ 434552885 72747416 76949696 % 
PATENT FIGURES AND FRACTIONS.—$ 1234567890 1913141923313g5g7g 
Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste 


tus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum 
presidium palatii, nihil urbis vigilice, nihil timor populi, nihil consensus bonorum 


ABCDEFGHIJKLMNOPQRSTUV WXYZ GE 


Nonparein, No. 14. (3-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste 
tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum 
presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum 
omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque 
moyerunt? patere tua consilia non sentis? constrictam jam omnium horum consci- 
entia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte 
egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare 
arbitraris? © tempora, o mores! Senatus hoc intelligit, consul videt: hic tamen 
Vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat 
et designat oculis ad ceedem unumquemque nostrum. Nos autem viri fortes satis- 
facere reipublice videmur, si istius furorem ac tela vitemus. Ad mortem te, Cati- 


ABCDEFGHIJKLMNOPQRSTUV WY YZAQGE& 
ABCDEFGHIJKLMNOPQRSTUVWXYZEG 
$ 1234567890 £& 444482805 76741416 75549656 76 
PATENT FIGURES AND FRACTIONS.—$ 1234567890 1913 141823%.335378 


| Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste 
twus eldet ? sure ad finem sese efrenata jactabit audacia? nihilne te nocturnum 
presidium palatii, nihil urbis vigilice, nihil timor populi, nihil consensus bonorwm 


ABODEFGHIJEKELMNOPQRSTUV WXYZAGE 


- 


Nonpareit, No. 15. (3-NICK.) 

Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus 
eludet ? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium 
palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum omnium, nihil 
hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere 
tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjura- 
tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos 
convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o 
mores! Senatus hoe intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in 
senatum venit: fit publici consilii particeps: notat et designat oculis ad ceedem unum- 
quemque nostrum. Nos autem viri fortes satisfacere reipublice videmur, si istius 
furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules jam pridem 


oportebat: in te conferri pestem istam, quam tu in nos omnes jamdiu machinaris. An 
vero vir amplissimus P, Scipio pontifex maximus, Tiberium Gracchum mediocriter 
labefactantem statum reipublice privatis interfecit. Catilinam vero orbem terre cade 
atque incendiis vastare cupientem nos consules perferemus? nam illa nimis antiqua 
preeterea, quod Q. Servilius Ahala Sp. Melium, novis rebus studentum manu sua occidit, 
Fuit, fuit iste quondam in hae reipublica virtus, ut viri fortes suppliciis civem perni- 
ciosum, quam acerbissimum hostem coercerent. Habemus enim senatus consultum in 
te, Catilina vehemens et grave: non deest reipublice consilium, neque auctoritas, 
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PATENT FIGURES AND FRACTIONS.—$ 1234567890 191914182334335g7g 
Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste 
tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum 
presidium palatti, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum 


ABCDEFGHIJKILMNOPQRSTUV WXYZAGEé 


NonpareEIL, No. 16. - (2-NICK. ) 

Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste 
tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum 
presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum 
omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque 
moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia 
teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, wbi 
fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O 
tempora, o mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo 
vero etiam in senatum venit: fit publici consilii particeps: notat et designat oculis ad 
cedem unumquemque nostrum. Nos autem viri fortes satisfacere reipublicee videmur, 
si istius furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules jam 


pridem oportebat: in te conferri pestem istam, quam tu in nos omnes jamdiu machi- 
naris. An vero vir amplissimus P. Scipio pontifex maximus, Tiberium Gracchum 
mediocriter labefactantem statum reipublice privatis interfecit. Catilinam vero orbem 
terrze ceede atque incendiis vastare eupientem nos consules perferremus ? nam illa nimis 
antiqua preetera, quod Q. Servilius Ahala Sp. Melium, novis rebus studentum manu 
sua occidit. Fuit, fuit iste quondam in hac reipublica virtus, ut viri fortes suppliciis 
civem perniciosum, quam acerbissimum hostem coercerent. Habemus enim senatum 
consultum in te, Catilina vehemens et grave: non deest reipublice consilium, neque 

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PATENT FIGURES AND FRACTIONS.—$ 1234567890 191314192394 335g7, 


Quousque tandem abutere, Catilina, patientia nostra? quamdiw nos etiam furor iste 
tuus eludet? quem ad jfinem sese effrenata jactabit audacia? nihilne te nocturnun 
presidium palatti, nihil urbis vigilix, nihil timor popult, nihil consensus bonorwm 


ABCDEFGHIJKIMN OP QRSTUVWAYZA GE 


NONPAREIL. No. 21. (2-NICK. ) 

Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor 
iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te noc- 
turnum presidium palatii, nihil urbis vigiliz, mil timor populi, nihil consensus 
bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora 
vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium 
horum conscientia teneri conjurationem tuam non vides? quid proxima, quid su- 
periore nocte egeris, ubi fueris, quos convocayeris, quid consilii ceperis, quem 
nostrum ignorare arbitraris? O tempora, o mores! Senatus hoe intelligit, consul 
videt: hic tamen vivit. Vivit! imo vero etiam in senatum yenit: fit publici con- 
silii particeps: notat et designat oculis ad cedem unumquemque nostrum. Nos 
autem viri fortes satisfacere reipublice videmur, si istius furorem ac tela vitemus. 


Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te conferri 
pestem istam, quam tu in nos omnes jamdiu machinaris. An vero vir amplissimus 
P. Scipio pontifex maximus, Tiberium Gracchum mediocriter labefactantem statum 
reipublice privatis interfecit. Catilinam vero orbem terre cede atque incendiis 
vastare cupientem nos consules perferremus? nam illa nimis antiqua preterea, 
quod Q. Servilius Ahala Sp. Melium, novis rebus studentum manu sua occidit. Fuit, 
fuit iste quondam in hac reipublica virtus, ut viri fortes suppliciis civem pernicio- 
sum, quam acerbissimus hostem coercerent. Habemus enim senatus consultum 


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ABCDEFGHIJKLMNOPQRSTUVWXYZ 
$ 1234567890 £ 444859385 76741446 75943636 % 
PATENT FIGURES AND FRACTIONS.—$ 1234567890 1013141823 34335g7, 


Quousque tandem abutere, Catilina, patientia nostra? quamdiw nos etiam furor iste 
tuus eludet? quem ad finem sese effrenata jactabit dudacia? nihilne te nocturnum 
presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum 


ABCDEFGHIJKLMN OP QRSTUVWAYZ HEE 


25 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHampers-StreeT, NEW-YORK. 


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For fuller Specimens of these, Faces, see Pages 78 to 109 at the end of this Volume. 


Minton, No. 11. (2-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia ? 
nihilne te nocturnum presidium palatii, nihil urbis vigilise, nihil timor 
populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi 
senatus locus, nihil horum ora yultusque moverunt? patere tua consilia 
non sentis? constrictam jam omnium horum conscientia teneri conjura- 
tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi 
fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare 
arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt: hic 
tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii 

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Parent FIGURES AND FRACTIONS.—$ 1234567890 1913141923343g5g 7 
Quousque tandem abutere, Catilina; patientia nostra? quamdiu nos etiam 


furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne 
te nocturmun presidium palatii, nihil urbis vigilie, nihil timor populi, nihil 


ABCDEFGHIJEKEILMNOPQERSTU VWXY ZA GEE 


Minton, No. 12. (2-NICK. ) 
Quousque tandem abutere, Catilina, patientia nostra? quamdiu 
nos etiam furor iste tuus eludet? quem ad finem sese effrenata jac- 
tabit audacia? nihilne te nocturnum presidium palatii, nihil urbis 
vigilie, nihil timor populi, nihil consensus bonorum omnium, nihil 
hic munitissimus habendi senatus locus, nihil horum ora vultusque 
moverunt ? patere tua consilia non sentis? constrictam jam om- 
nium horum conscientia teneri conjurationem tuam non vides? 
quid proxima, quid superiore nocte egeris, ubi fueris, quos convo- 
caveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O 
tempora, o mores! Senatus hoc intelligit, consul videt: hic tamen 

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$ 1234567890 £ 2333528es 444% %% % 

PATENT FIGURES & FRACTIONS.—$ 1234567890 1913141923343g5g7 
Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
furor iste twus eludet? quem ad finem sese effrenata jactabit audacia? mi- 
hilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, 

ABCDEFGHIJKLMNOPQRSTUV WX YZAGES 


Minton, No. 13. (2-NICK. ) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia ? 
nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor 
populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi 
senatus locus, nihil horum ora vultusque moyerunt? patere tua consilia 
non sentis ! constrictam jam omnium horum conscientia teneri conjura- 
tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi 
fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare 
arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt: hie 
tamen vivit. Vivit! imo vero etiam in senatum yenit: fit publici consilii 
ABCDEFGHIJKLMNOPQRSTUVWXYZAG& 
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PATENT FIGURES AND FRAcTIONS.—$ 1234567890 191314182334395g7 
Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 


furor iste tuus eludet? quem ad finem sese effrenatajactabit wudacia? nihilne 
te nocturnum presidium palati, nihil urbis vigilie, nihil timor populi, nihil 


ABCDEFGHIJTELMNOPQRSTUVWXYZAGE 


Minton. No. 14. (2-NICK. ) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne 
te nocturnum preesidiuim palatii, nihil urbis vigilia, nihil timor populi, nihil 
consensus bonorum omnium, nihil hie munitissimus habendi senatus locus, 
nihil horum ora vultusque moverunt? patere tua consilia non sentis? con- 
strictam jam omnium horum conscientia teneri conjurationem tuam non 
vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos conyo- 
caveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 
o mores! Senatus hoc intelligit, consul videt! hie tamen yivit. Vivit! imo 
vero etiam in senatum venit: fit publici consilii particeps: notat et designat 

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ABCDEFGHIJKLMNOPQRSTUV WXYZ 20Ga 

$ 1234567890 £ 4442: hls Vy 16 2554 98 % 78 
PATENT FIGURES AND FRACTIONS.—$ 1234567890 1913141923313g5g7 
Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
Furor iste tuus eludet ? quem ad finem sese effrenata jactabit audacia ? nihilne 
tenocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil 

ABODEFGHIJKLMNOPQRSTUVWXVZAGE 


MINION. 


- 


Minion, No. 15. (2-NIOK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor 
iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te noe- 
turnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus 
bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora 
vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium 
horum conscientia teneri conjurationem tuam non vides? quid proxima, quid 
superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem — 
nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul 
videt: hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici 
consilii particeps: notat et designat oculis ad cedem unumquemque nostrum. 


Nos autem viri fortes satisfacere reipublicze videmur, si istius furorem ac tela 
vitemus. Ad mortem te, Catilina, ducijussu consules jam pridem oportebat: in 
te conferri pestam istam, quam tu in nos omnes jamdiu machinaris. An vero 
vir amplissimus P. Scipio pontifex maximus, Tiberium Gracchum mediocriter 
labefactantem statum reipublice privatis interfecit. Catilinam vero orbem 
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Quousque tandem abutere, Catilina, putientia nostra? quamdiu nos etiam — 
Furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne 
te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil 


ABCDEFGHIJTELUNOPQRSTUVWXYZAG& 


Minion, No. 16. (3-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
furor iste tuus eludet? quem ad finem sese effrenata jJactabit audacia? nihilne 
te nocturnum preesidium palatii, nihil urbis vigilize, nihil timor populi, nihil 
consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, _ 
nihil horum ora vultusque moverunt? patere tua consilia non sentis? con- + 
strictam jam omnium horum conscientia teneri conjurationem tuam non vides? — 
quid proxima, quid superiore nocte egeris, ubi fueris, quos convocayeris, quid 4 
consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! 

Senatus hoc intelligit, consul yidet: hic tamen vivit. Vivit! imo vero etiam 
in senatum venit: fit publici consilii particeps: notat et designat oculis ad 


oe are a 


ceedem unumquemque nostrum. Nos autem viri fortes satisfacere reipublice 
videmur, si istius furorem ac tela vitemus. Ad mortem te, Catilina, ducijussu 
consules jam pridem oportebat: in te conferri pestem istam, quam tu in nos — 
omnes jamdiu machinaris. An vero vir amplissimus P. Scipio pontifex — 
maximus, Tiberium Gracchum mediocriter labefactantem statum reipublice _ 
ABCDEFGHIJKLMNOPQRSTUVWXYZAG& a 
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Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor 
iste twus eludet? quem ad finem sese effrenata yactabit audacia ? nihilne te noc- 
turnum presidium palati, nihil urbis vigilie, nihil timor popult, nihil consensus 
ABODEFGHIJELUNOPQRSTU VWXYVZAGE 


Minton, No. 21. (3-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? — 
nihilne to nocturnum presidium palatii, nihil urbis vigiliz, nihil timor 
populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi 
senatus locus, nihil horum ora yultusque moverunt? patere tua consilia 
non sentis? constrictam jam omnium horum conscientia teneri conjura- 
tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi 
fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare 
arbitraris? O tempora,o mores! Senatus hoe intelligit, consul videt: — 
hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit public 


consilii particeps: notat et designat oculis ad ceedem unumquemque nos- 
trum. Nos autem viri fortes satisfacere reipublicee videmur, si isti 
furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules 
jam pridem oportebat: in te conferri pestem istam, quam tu in nos omnes 
jamdiu machinaris. An vero vir amplissimus P. Scipio pontifex maximus, 
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Quousque tandem abutere, Catilina, patientia nostra ? quamdiu nos etiam 
iste twus eludet ? quem ad finem sese effrenata jactabit audacia ? nihilne te 
turnum presidium palatir, nihil urbis vigilie, nihil timor populi, nihil consensus 


ABCDEFGHIJTKEILMUNOPQRSTUVWXVZAGd 


GEORGE BRUCE’S SON & CO., Typx-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


26 


BREVIER. 


For fuller Specimens of these Faces, see Pages 62 to 77 at the end of this Volume. 


Brevier, No. 11. (3-NICK. ) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos 
etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit 
audacia? nihilne te nocturnum presidium palatii, nihil urbis vigi- 
lie, nihil timor populi, nihil consensus bonorum omnium, nihil hie 
munitissimus habendi senatus locus, nihil horum ora vultusque 
moverunt? patere tua consilia non sentis? constrictam jam omnium 
horum conscientia teneri conjurationem tuam non vides? quid 
proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, 
quid consilii ceperis, quem nostrum ignorare arbitraris? O tem- 


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ABCDEFGHIJKLMNOPQRSTUVWXYZHiG 
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Quousque tandem abutere, Catilina, patientia nostra? quamdiunos etiam 
furor iste twus eludet? quem ad finem sese effrenata jactabit audacia ? 
ABCDEFGHIJKLMNOPQRSTUVWXYZAGS 


BREVIER, No. 12. 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu 
nos etiam furor iste tuus eludet? quem ad finem sese effrenata 
jactabit audacia? nihilne te nocturnum presidium palatii, nihil 
urbis vigilie, nihil timor populi, nihil consensus bonorum om- 
nium, nihil hic munitissimus habendisenatus locus, nihil horum 
ora vultusque moyerunt? patere tua consilia non sentis? con- 
strictam jam omnium horum conscientia teneri conjurationem 
tuam non vides? quid proxima, quid superiore nocte egeris, ubi 
fueris, quos conyocaveris, quid consilii ceperis, quem nostrum 
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Parent Figs. & Fract’s.—$ 1234567890 1913141925%43g5g7% 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu 
nos etiam furor iste twus eludet? quem ad finem sese effrenata 


ABODBFGHIJTKLMNOPQRSTU VWXYZAGEE 


(3-NICK. ) 


Brevisr, No. 13. 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos 
etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit 
audacia? nihilne te nocturnum presidium palatii, nihil urbis vigi- 
liz, nihil timor populi, nihil consensus bonorum omnium, nihil hic 
munitissimus habendi senatus locus, nihil horum ora vultusque 
moverunt? patere tua consilia non sentis? constrictam jam omnium 
horum conscientia teneri conjurationem tuam non vides? quid 
proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, 
quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 


ABCDEFGHIJKLMNOPQRSTUV WXYZAE& 
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etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit au- 
ABCDEFGHIJKLMNOPQRSTUVWXYZAIGS 


(3-NICK.) 


Brevisr, No. 14. (3-NICK. ) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos 
etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit 
audacia ? nihime te nocturnum preesidium palatii, nihil urbis vigil, 
nihil timor populi, nihil consensus bonorum omnium, nihil hic muni- 
tissimus habendi senatus locus, nihil horum ora yultusque moverunt? 
patere tua consilia non sentis? constrictam jam omnium horuwm con- 
Scientia teneri conjurationem tuam non vides? quid proxima, quid 
Superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ce- 
peris, quem nostrum ignorare arbitraris? O tempora, 0 mores! Sena- 

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Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos 
etiam furor iste twus eludet? quem ad finem sese effrenata jactabit 


ABCDEFGHIJKLMNOPQRSTUV WXYZAiGS 


27 


BreviER, No. 15. (3-NICK. ) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia ? 
nihilne te nocturnum presidium palatii, nihil urbis vigiliee, nihil timor 
populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi 
senatus locus, nihil horum ora vultusque moverunt? patere tua consilia 
non sentis? constrictam jam omnium horum conscientia teneri conjura- 
tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi 
fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare 
arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt : 


hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici 
consilii particeps: notat et designat oculis ad ceedum unumquemque 
nostrum. Nos autem viri fortes satisfacere reipublicee videmur, si istius 
furorem ac tela vitemus. Ad mortem te, Catilina, ducijussu consules 
jam pridem oportebat: in te conferri pestem istam, quam tu in nos omnes 


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ABCDEFGHIJKLMNOPQRSTUVWXYZEE 
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PATENT Fics. AND FRACT’s.—$ 1234567890 1913141929343g5g7 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
furor iste twus eludet? quem ad finem sese effrenata jactabit audacia? 


ABCDEFGHIJKLMNOPQRSTUVWXYZAQGS 


BrevieR, No. 16. 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia ? 
nihilne te nocturnum presidium palatii, nihil urbis vigilize, nihil timor 
populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi 
senatus locus, nihil horum ora vultusque moverunt? patere tua consilia 
non sentis? constrictam jam omnium horum conscientia teneri conjura- 
tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi 
fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare 
arbitraris? O tempora, 0 mores! Senatus hoc intelligit, consul videt: 


(2-NICK.) 


hie tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici 
consilii particeps: notat et designat oculis ad ceedem unumquemque 
nostrum. Nos autem viri fortes satisfacere reipublicee videmur, si istius 
furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules 
jam pridem oportebat: in te conferri pestem istam, quam tu in nos omnes 

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ABCDEFGHIJKLMNOPQRSTUV WXYZ 

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furor iste tuus eludet? quem ad jinem sese effrenata jactabit audacia ? 


ABCDEFGHIJKELMNOPQRSTUVWXYZAGES 


BRevIER, No. 21. 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos 
etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit 
audacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, 
nihil timor populi, nihil consensus bonorum omnium, nihil hie muni- 
tissimus habendi senatus locus? nihil horum ora yultusque moverunt? 
patere tua consilia non sentis? constrictam jam omnium horum con- 
scientia teneri conjurationem tuam non vides? quid proxima, quid 
superiore nocte egeris, ubi fueris, quos conyocayeris, quid consilii ce- 
peris, quem nostrum ignorare arbitraris? O tempora, o mores! Sena- 


(2-NICK. ) 


tus hoe intelligit, consul videt: hic tamen vivit. Vivit! imo vero 
etiam in senatum venit: fit publici consilii particeps: notat et desig- 
nat oculis ad cedem unumquemque nostrum. Nos autem viri fortes 
satisfacere reipublice videmus, si istius furorem ac tela vitemus. Ad 
mortem te, Catilina, duci jussu consules jam pridem oportebat: in te 

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ABCDEFGHIJKLMNOPQRSTUV WXYZ 

$ 1234567890 £ 4h2h9288h 161414 % 167794 98% % 
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Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam 
furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? ni- 


ABCDEFGHIJKLMNOPQRSTUV WXYZAiGhE 


GEORGE BRUCE’S SON & CO., Typr-FounprErs, No. 13 CHampers-STREET, NEW-YORK. 


; : ae ; 
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BOURGEOIS. 


For fuller Specimens of these Faces, see Pages 50 to 61 and 157 to 159 at the end of this Volume. 


Bouresors, No. 11. (2-NIOK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdiu 
nos etiam furor iste tuus eludet? quem ad finem sese effrenata 
jactabit audacia? nihilne te nocturnum presidium palati, 
nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum 
omnium, hihil hic munitissimus habendi senatus locus, nihil 
horum ora vultusque moverunt? patere tua consilia non sentis? 
constrictam jam omnium horum conscientia tenerl conjura- 
tionem tuam non vides? quid proxima, quid superiore nocte 
egeris, ubi fueris, quos convocaveris, quid consilii ceperis, 
quem nostrum ignorare arbitraris? O tempora, o mores! Se- 
natus hoe intelligit, consul videt: hic tamen vivit. Vivit! imo 
vero etiam in senatum yenit: fit publici consilu particeps: 
notat et designat oculis ad cedem unumquemque nostrum. 


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ABCDEFGHIJKLMNOPQRSTUVWXYZHE& 
$ 1234567890 £ 3 


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Quousque tandem abutere, Catilina, patientia nostra? quamdiu 
nos etiam furor iste twus eludet? quem ad finem sese effrenata jac- 
tabit audacia ? mihalne te nocturnum presidium palati, nihil urbis 


ABCDEFGHIJKLMNOPQRSTUVWXYZAIGE& 


Boureeors, No. 13. (2-NICK. ) 


Quousque tandem abutere, Catilina, patientia nostra? quam- 
diu nos etiam furor iste tuus eludet? quem ad finem sese effre- 
nata jactabit audacia? nihilne te nocturnum presidium palatii, 
nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum 
omnium, nihil hic munitissimus habendi senatus locus, nihil 
horum ora vultusque moverunt? patere tua consilia non sen- 
tis? constrictam jam omnium horum conscientia teneri conju- 
rationem tuam non vides? quid proxima, quid superiore nocte 
egeris, ubi fueris quos conyocayeris, quid consilii ceperis, 
quem nostrum ignorare arbitraris? O tempora, 0 mores! Sena- 
tus hoc intelligit, consul yidet: hic tamen vivit. Vivit! imo 
vero etiam in senatum venit: fit publici consilii particeps: 
notat et designat oculis ad ceedem unumquemque nostrum. 
ABCDEFGHIJKLMNOPQRSTUVWXYZEG& 
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Quousque tandem abutere, Catilina, patientia nostra? quamdiu 
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jactabit audacia? nihilne te nocturnum presidium palatii, nihil 
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jam omnium horum conscientia teneri conjurationem tuam non _ 


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convocaveris, quid consilii ceperis, quem nostrum ignorare arbi- 
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Bourceots, No. 21. - (2-NICK.) 


(Juousque tandem abutere, Catilina, patientia nostra? quamdiu 
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jactabit audacia? nihilne te nocturnum presidium palatii, nihil 
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ora vultusque moyverunt? patere tua consilia non sentis? con- 


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ignorare arbitraris ? O tempora, o mores! Senatus hoc intellegit, 


consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum ~ 
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GEORGE BRUCE’S SON & CO., TYPE-FouNnDERS, No. 13 CuamBers-STREET, NEW-YORK. 


28 


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LONG-PRIMER. 


For fuller Specimens of these Faces, see Pages 36 to 49 and 154 to 156, at the end of this Volume. 


Lone-primer, No. 11. (3-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? 
quamdiu nos etiam furor iste tuus eludet? quem ad finem 
sese effrenata jactabit audacia? nihilne te nocturnum 
presidium palatii, nihil urbis vigilie, nihil timor popul, 
nihil consensus bonorum omnium, nihil hic munitissimus 
habendi senatus locus, nihil horum ora vultusque move- 
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Lone-primer, No. 13. (3-NICK.) 
Quousque tandem abutere, Catilina, patientia nostra? 
quamdiu nos etiam furor iste tuus eludet ? quem ad finem 
sese effrenata jactabit audacia? nihilne te nocturnum 
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nihil consensus bonorum omnium, nihil hic munitissimus 
habendi senatus locus, nihil horum ora yultusque move- 
runt? patere tua consilia non sentis? constrictam jam 
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LoNG-PRIMER, No. 14. (3-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? qu- 
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Lone-primer. No. 15. (3-NICK. ) 


Quousque tandem abutere, Catilina, patientia nostra? quam- 
diu nos etiam furor iste tuus eludet? quem ad finem sese 
effrenata jactabit audacia? nihilne te nocturnum presidium 
palatii, nihil urbis vigilize, nihil timor populi, nihil consensus 
bonorum omnium, nihil hic munitissimus habendi senatus 
locus, nihil horum ora vultusque moverunt? patere tua con- 
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Lone-primer, No. 16. (2-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quamdia 
nos etiam furor iste tuus eludet? quem ad finem sese effrenata 
jactabit audacia? nihilne te nocturnum presidium palatii, nihil 
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wm, nihil hic munitissimus habendi senatus locus, nihil horum 
ora vultusque moverunt? patere tua consilia non sentis? con- 
strictam jam omnium horum conscientia teneri conjurationem 
tuam non vides? quid proxima, quid superiore nocte egeris, ubi 


fueris, quos convocaveris, quid consilii ceperis, quem nostrum 
ignorare arbitraris? O tempora, 0 mores! Senatus hoc intelligit 
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LONG-PRIMER, No. 19. (3-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? quam- 
diu nos etiam furor iste tuus eludet? quem ad finem sese 
effrenata jactabit audacia? nihilne te nocturnum presidium 
palatii, nihil urbis vigilice, nihil timor populi, nihil consensus 
bonorum omnium, nihil hic munitissimus habendi senatus 
locus, nihil horum ora vultusque moverunt? patere tua con- 
silia non sentis? constrictam jam omnium horum conscientia 
teneri conjurationem tuam non vides? quid proxima, quid 


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LonG-PRIMER, No. 21. (3-NICK. ) 


Quousque tandem abutere, Catilina, patientia nostra? qu- 
amdiu nos etiam furor iste tuus eludet? quem ad finem 
sese effrenata jactabit audacia? nihilne te nocturnum 
presidium palatii, nihil urbis vigiliz, nihil timor popul, 
nihil consensus bonorum omnium, nihil hic munitissimus 
habendi senatus locus, nihil horum ora vultusque move- 
runt? patere tua consilia non sentis? constrictam jam om- 
nium horum conscientia teneri conjurationem tuam non 


vides? quid proxima, quid superiore nocte egeris, ubi 
fueris, quos convocaveris, quid consilii ceperis, quem nos- 
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29 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


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For fuller Specimens of these Faces, see Pages 22 to 35 and 153, at the end of this Volume. 


SMALL-PICA. 


Smati-pica, No. 11. (2-NICK.) 


Quousque tandem abutere, Catilina, patientia nos- 
tra? quamdiu nos etiam furor iste tuus eludet? 
quem ad finem sese effrenata jactabit audacia? 
nihilne te nocturnum presidium palatii, nihil ur- 
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SmMALL-PIcA. No. 13. 


(2 


(uousque tandem abutere, Catilina, patientia nos- 
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nihilne te nocturnum preesidium palatii, nihil ur- 
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-NICK.) 


SmALuL-PrcA, No. 15. 2-NIOK.) 


Quousque tandem abutere, Catilina, patientia nos- 
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SMALL-PICA, No. 16 (3-NICK. ) 


Quousque tandem abutere, Catilina, patientia nostra ? 
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timor populi, nihil consensus bonorum omnium, nihil 
hic munitissimus habendi senatus locus, nihil horum 
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SmMALL-PIcA, No. 17. (2-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra? 
quamdiu nos etiam furor iste tuus eludet? quem ad 
finem sese effrenata jactabit audacia? nihilne te noctur- 
num presidium palatii, nihil urbis vigiliz, nihil timor 
populi, nihil consensus bonorum omnium, nihil hie muni- 
tissimus habendi senatus locus, nihil horum ora vultusque 
moyverunt ? patere tua consilia non sentis? constrictam | 


jam omnium horum conscientia teneri conjurationem tuam 
non vides ? quid proxima, quid superiore nocte egeris, ubi 
fueris, quos convocaveris, quid consilii ceperis, quem nos- 


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SMALL-PICA, No. 18 (2-NICK.) 


Quousque tandem abutere, Catilina, patientia nostra ? 

quamdiu nos etiam furor iste tuus eludet? quem ad _ 
finem sese effrenata jactabit audacia? nihilne te noc- 
turnum presidium palatii, nihil urbis vigilia, nihil 
timor populi, nihil consensus bonorum omnium, nihil 
hic munitissimus habendi senatus locus, nihil horum 
ora vultusque moverunt? patere tua consilia non sen-_ 


tis? constrictam jam omnium horum conscientia teneri 
conjurationem tuam non vides? quid proxima, quid — 
superiore nocte egeris, ubi fueris, quos convocaveris, 


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’ 
i 


} 
. 


Smauu-pica, No. 21. (2-NICK.) 


Quousque tandem abutere, Catilia, patientia nostra 4 
quamdiu nos etiam furor iste tuus eludet? quem ad — 
finem sese effrenata jactabit audacia? nihilne te noc- — 
turnum presidium palatii, nihil urbis vigilie, nihil 
timor populi, mhil consensus bonorum omnium, nihil — 
hie munitissimus habendi senatus locus, nihil horum — 


ora vultusque moverunt? patere tua consilia non sen=, # 


tis? constrictam jam omnium horum conscientia tenerl — 
conjurationem tuam non vides? quid proxima, quid 
superiore nocte egeris, ubi fueris, quos convocaveris, 


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GEORGE BRUCE’S SON & CO., TypE-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


30 


PICA, ENGLISH AND COLUMBIAN. 


For fuller Specimens of these Faces, see Pages 7 to 21 and 152 at the end of this Volume. 


PICA NO LE (3-NICK. ) 
Quousque tandem abutere, Catilina, patientia 
nostra? quamdiu nos etiam furor iste tuus 
eludet ? quem ad finem sese effrenata jacta- 
bit audacia? nihilne te nocturnum presidium 
palatu, nihil urbis vigihee, nihil timor populi, 
nihil consensus bonorum omnium, nihil hie 
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PICA INO ls. (3-NICK. ) 
Quousque tandem abutere, Catilina, patientia 
nostra? quamdiu nos etiam furor iste tuus 
eludet? quem ad finem sese effrenata jactabit 
audacia? nihilne te nocturnum presidium 
palatii, nihil urbis vigilizw, nihil timor populi, 
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RicA, No: 16. 
(uousque tandem abutere, Catilina, patientia 
nostra? quamdiu nos etiam furor iste tuus elu- 
det? quem ad finem sese effrenata jactabit au- 
dacia? nihilne te nocturnum presidium palatii, 
nihil urbis vigilize, nihil timor populi, nihil con- 
sensus bonorum omnium, nihil hic munitissimus 
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(2-NICK. ) 


Pica, No. 18. 
Bi rtsque tandem abutere, Catilina, patientia 
nostra? quamdiu nos etiam furor iste tuus elu- 
det? quem ad finem sese effrenata jactabit au- 
dacia? nihiIne te nocturnum presidium palatii, 
nihil urbis vigiliz, nihil timor populi, nihil con- 
sensus bonorum omnium, nihil bic munitissimus 
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Pica, No. 21. (3-NICK.) 
Quousque tandem abutere, Catilina, patientia 
nostra? quamdiu nos etiam furor iste tuus elu- 
det? quem ad finem sese effrenata jactabit au- 
dacia? nihilne te nocturnum presidium palatii, 
nihil urbis vigilie, nihil timor populi, nihil con- 
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CoutuMBIAN, No. 13. (1-NICK.) 


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ABCDEFGHIJKLMNOP OR 


GEORGE BRUCE’S SON & CO., Type-Founpers, No. 13 CHampers-SrReET, NEW-YORK. 


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STYLE 16. 


GREAT-PRIMER, No. 16. 
Quousque tandem abutere, Catilina, 
patientia nostra? quamdiu nos etiam 
furor iste tuus eludet ? quem ad finem 
sese effrenata jactabit audacia? nihil- 
ne te nocturnum presidium palatu, 
nihil urbis vigilize, nihil timor populi, 
nihil consensus bonorum omnium, ni- 
ABCDEFGHIJKLMNOPQRSTU 
$ 1234567890 £ 441123307 
Quousque tandem abutere, CATT LIN 


DovusLE EneuisH, No. 16. 


Quousque tandem abutere, Catilina, patientia | 
nostra? quamdiu nos etiam furor iste tuus elu- | 
det? quem ad finem sese effrenata jactabit aud- | 
acia? mihilne te nocturnum preesidium palati, | 
nit urbis vigilee, nihil timor populi, nihil con- | 


ABCDEFGHIJKLMNOPQ 457890 


DousBLEe GREAT-PRIMER, No. 16. 


Quousque tandem abutere, Catilia, 
patientia nostra? quamdiu nos etiam 
furor iste tuus eludet ? quem ad finem 
sese effrenata jactabit audacia? nihilne: 


ABCDEFGHIJKLMNO 1878 


DovusLe SmMAuu-prca. No. 16. | 
Quousque tandem abutere, Cat- : 
ilina, patientia nostra? quamdiu | 
nos etiam furor iste tuus eludet? | 
quem ad finem sese effrenata | 
jactabit audacia? nihilne te noc- | 
turnum presidium palatu, nihil | 

ABCDEFGHIJKLMNOP | 
$ 1234567890 £ 


GEORGE BRUCE’S SON & CO., TYPE-FOUNDERS, No. 18 CHAMBERS-STREET, NEW-YORK. 


32 


STYLE 16. 


Four-uInE Pica, No. 16. 20 a and 10 A, 56 Ih. 


JOSEPH AMR 
ade Papers at Mecca, 
In the year 706. 


Srx-LiInE Pica, No. 16. 31 lb. 8 oz. 


Paper-Mill at 
OLHDO, lOSS 


4 2 and 4 A, 
50 lb. 8 oz. 


adua, Italy 
1340. 


ry 


NINE-LINE Pica, No. 16. : 


GEORGE BRUCE’S SON & CO., Typr-FounprRs, No. 13 CHamMBeErs-STREET, NEW-YORK. 
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STYLE 1. 


GREAT-Primer, No. 1. ParaGon, No. 1. 


Quousque tandem abutere, Catilina, Quousque tandem abutere, 
patientia nostra ? quamdiu nos etiam | Catilina, patientia nostra?) 


ABCDEFGHIJKL 1876 ABCDEFGH 1876 


Quousque tandem abutere, Catihna Quousque tandem abutere, 


DousiEé SmMAuy-Pica, No. 1. 


Quousque tandem abutere, Catilina, patientia nostra? 


quamdiu nos etiam furor iste tuus eludet? quem ad 
ABCDEFGHIJKLM 1234567890 
Quousque tandem abutere, Catilina, patientia nostra? 


Dovusie Pica, No. 1. 


Quousque tandem abutere, Catilina, patien= 
tia nostra ? quamdiu nos etiam furor iste tuus 


ABCDEFGHIJKLMNO 12345 
Quousque tandem abutere, Catilina, pati=- 


DouBLeE .ENGLISH, No. 1. 


Quousque tandem abutere, Catilina, 
patientia nostra? quamdiu nos etiam 


ABCDEFGHIJKL 12345 
Quousque tandem abutere, Catilina, 


DousLe CotumBtIANn, No. 1. 


Quousque tandem abutere, Catili- 
ha, patientia nostra? quamdiu nos 


ABCDEFGHIJKL 1234 
Quousque tandem abutere, Catili 


_ GEORGE BRUCE’S SON & CO., Typr-FounprErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 


34 


Quousque tandem abutere, Cati 
lina, patientia nostra? quamdiu 


ABCDEFGHIJK 1234 
Quousque tandem abutere, Coll 


DousLE Paragon, No 


Quousque tandem abutere 
Catilina, patientia nostra 


ABCDEFGH 1234 
Quousque tandem ABUT 
Quosque tandem 
abutere, Catilina 


v 
| S 
GEORGE BRUCE’S SON & CO., TypE-FounprErs, No. 13 CHAMBERS-STREET, NEW-YORK. 

| 35 


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STYLE 1. 


Four-.tine Pica, No. 1. 


A Paper Mill | 
IN GERWANY 
year 1390. 


FIVE-LINE Pica, No. 1. 


In FRANCE 
Year 1340. 


SEVEN-LINE Pica, No. 1. 


In Italy, 
1340. 


GEORGE BRUCE’S SON & CO., TypPE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
36 


STYLE 13. 


GREAT-PRIMER, No. 13. 


Quousque tandem abutere, Catilina 
patientia nostra? quamdiu nos eti- | 


am furor iste tuus eludet ? quem ad 
finem sese effrenata jactabit auda- 
cia? nihilne te nocturnum preesidi- 


ABCDE § 1234 £ $4113335% 


DouBLE Smauu-Pica, No. 13. 
Quousque tandem abutere, 
Catilina, patientia nostra? 


— quamdiu nos etiam furor 
iste tuus eludet? quem ad 


ABCDEFGH $ 1254 £ 


~ Quousque tandem ABUTE, 


Quousque tandem abutere, CA TIL 


DouBLeE EnauisH, No. 13. 


iousque tandem abutere, Catilina, patien- 
tia nostra ? quamdiu nos etiam furor iste tuus 


ABCDEFGHIJKLMN = 1254567890 
Quousque tandem abutere, CATILINA, 


Doust T-PrimeER, No. 13. 


Quousque tandem ‘abutere, Catili- 
na, patientia nostra? quamdiu nos 


ABCDEFGHIJKLM 1876. 
| Ruousque tandem abutere, CA TTL 


Quousque tandem abutere 
[Patilina, patientia nostra ! 


ee eke, 1876. 


, NEW-YORK. 


GEORGE BRUCE'S SON & CO., Typr-FoUNDERs, No. 13 CH 3ERS-STR 


37 


MT ‘RETA 


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Round Gothie. 
INDULGENCKES. 
Mentz, 1454->). 


Fivn-LinE Pica Irauic, No. 13. 5 a and 5 A, 28 Ib. 


Cast on a slanting body so that no letter overhangs: they are, therefore, as strong as Roman type. 


Poimted Gothic 
J. GUTENBERG 
Wentz, 1450-55. 


GEORGE BRUCE’S SON & CO., Typr-FounprErs, No. 13 CHamprrs-Srrret, NEW-YORK. 
38 


STYLE 13. 


SEVEN-LINE Pica, No. 13. 4 a and 4 A, 45 lb. 


Roman Face. 


At SU BIAC 


Italy, L465. 


SEVEN-LINE Pica Irauic, No. 13. 4 aand 4 A, 51 Ib. 


Cast on a slanting body so‘that no letter overhangs: they are, therefore, as strong as Roman type. 


—Ttalie Types 


® 


VANUTIUS. 
Venice, ISOL 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 138 CHAMBERS-STREET, NEW-YORK. 
39 


Hl) om etre goretpii te oe ntey eeatls 


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AT RE: SOTERA, 


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STYLE 13. ; i 


Trn-Line Pica, No. 13. 4a and 4 A, 74 lb. 87. 


ENSON 
ied L4S] 


TEN-LINE Pica Iraxic, No. 13. 4a and 4 A, 86 lb. 8 ' 


™) } 
Cast on a slanting body so that no letter overhangs: they are, therefore, as strong as Roman type. 


OBK 
ted Lj2 


GEORGE BRUCE’S SON &-CO., Typr-FounprErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
40 


STYLE 101. 


Two-LInE Dramonp, No. 101. Sie wes Two-LINE Pear, No. 101. 
MATT. MORAVUS, FIRST PRINTER J. VASQUEZ FIRST PRINTER 
IN CITY OF GENOA, 1474. IN CITY OF TOLEDO, 1486. 
Two-Line AGaAtr, No. 101. TWwo-LINE NONPAREIL, No. 101. Ree 
SWEYNHEIM & DARA ER JOHN & THOS. BORCHARD, 
IN CITY OF ROME, 1467. IN HAMBURG, 1491. 
Two-Linrt Minton, No. 101. ; Two-LINE BREVIER, No. 101. 


BALTHAZ. AZZOGUIDI PHILIP DE LAVAGNA 
| BOLOGNA, 1471. IN MILAN, 1469. 


Two-LInp Bouraeors, No. 101. Bia Two-1inE Lona-Primer, No. 101. 


J.SENSENSCHMIDT MEN. UNGUT, 
NURNBERG, 1470 GRENADA, 1497. 


Two-LINE SMALL-PicaA, No. 101, 


WINTERBERG, VIENNA, 1482. 


Two-uinEe Pica, No. 101. 


PRINTING IN MEXICO, 1540. 


Two-LiIne Enauisu, No. 101. 


PRIN TING, IN LEMA, 1586. 


CAMBRIDGE, MS. 1639 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 
41 


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Two-LInE DrAmonp, No. 102. eta evie es. Two-LInE PEARL, No. 102. oes 
ALDUS MANUTIUS, THE WISE PRINTER OF PAUL MANUTIUS, THE THIRD SON Or } 
VENICE. BORN, 1449. DIED, 1515. ALDUS. BORN, 1512. DIED, 1574, 


T Ngan, No. Two-LInE NonpAREIL, No. 102. 
W0-LINE 02. 


ALDUS, JR. WAS THE on OF PAUL. JOHN BAPTIST BODONT, ITALY. 


BORN, 1547. DIED, 1597. BORN, 1740. DIED, 1813. 
Two-ninp Minion, No. 102. Two-tiné Brevisr, No. 102. 
BEN. FRANKLIN, BORN 1706 FRANKLIN DIED IN 1790 
BOSTON, MASS. PHILADEL. PENN. 


CHRISTIAN WECHEL, OF PARIS...... DIED 1581. 
A PRINTER OF THE 16TH CENTURY. 


Two-.LinE LonG-Primer, No. 102. 


JOHN FROBEN, OF BASLE.....DIED 152% i 
PRINTER, PUBLISHER, EDITOR. | 


TWo-LINE SMALL-Pica, No. 102. 


C. STANHOPE, BORN 1753, DIED ‘1816, 
IMPROVED PRINTING PRESSES. — 


Two-LinE Pica, No. 102. 


THOMAS C. HANSARD, DIED 1833, 


Two-LIne Enauisu, No. 102. 


LUKE HANSARD, DIED 1828 


GEORGE BRUCE’S SON & CO., Type-Founprrs, No. 13 CHampnrs- SrREET, NEW-YORK. 
42 


STYLES 103, 104 AND 107. 


Two-tinge DiAmMonp, No. 103. SRE ies Two-tine AGATE, No. 103. Awe ete. 
JOANNES SENSENSCHMIDT, FIRST PRINTER |' M. DE LA TALLE AND B. SEGURA, 
IN, CITY. OF NUREMBERG, 1470. IN CITY OF SEVILLE, 1477 
Two-LInE Praru, No. 103. ee Two-LiInE Minton, No. 103. 3b. Ii ot 


SAMUEL ZORBA AND RUBAN ELIEZER, GOTHOFRIDUS DE GHEMEN 
me CITY OF LISBON, 1489: IN COPENHAGEN. 1493. 


Two-tiIne Nonparern, No. 103. Ayah 


BOmN FABRI & JOHN DE PETRO, 
Seco llY OF TURIN, 1474. 


Two-uine Brevier, No. 103. 4 1b. 13 on. 


SCHOBSER, MUNICH, 1500. 


Two-LinE Brevier, No. 104. pide Two-tinE Bourceors, No. 103. 3 Ib 8 on. 


U. ZELL AT COLOGNE 1466 | M. BRAND, LEIPSIC, 1481. 


Two-LINE SMALL-Pica, No. 103. 7 6 


ALBERT PFISTER AT BAMBERG, 1461 


Two-LinE Minion, No. 104. 3b. 12 on 


JOHAN SNELL, FIRST PRINTER IN CITY OF STOCKHOLM, 1483. 


Two-LinE Agatr, No. 107. ai dor: 


BERNARD CENNINI AND SONS, FIRST PRINTERS IN) FLORENCE, 1471. 


Two-utine Nonparein, No. 107. 3b. 


BERNARDUS RICHEL, BERTHOLDUS RODT, PRINTERS, BASLE, 1474 


Two-LinE Minton, No. 107. 3 Ib. 13 on. 


FRATRES VITA! COMMUNIS, PRINTERS, BRUSSELS, 1476. 


Two-.LInE Brevier, No. 107. ieee 


NICOLAUS SPINDELAER, PRINTER, BARCELONA, 1475. 


GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 
43 


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HOPE ATE MaARADS SP CHLA 3 ae ee 
Lh SDE Fe Mee ee 
iy ‘ an a 


3 


®s 
4 
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ie 


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it U4 LAI AOR ies 


VSL ASPET LE 


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; 4 af 


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IVIL?) OEY aaa 
a 
. r BS ot 
: ; oy “ ew 
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ere : Mae et 


‘ Lanna t ~ | 4. eral 
Boh A. COMM OSTA ECP 7D Eee 


, : ‘ j aS ‘J Pie 


ie ha! a * 
A et te Ale tO Gl 
res alan, ) iso 
aes het v 
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Brie eae OF A | ATT ADAG kee 
4 dein Bea tee Bea 


Cer. ‘ - if 
att iy 
74] (7) | 


Shs YSIO' 


twas 


Ps. 


as 


) pi AL ARTEL 
ave 


Peary 


CLUH BAMOHT 
YP CHG EVOL AsO 


ail OF dis 


Baus #1. 51 en Mig 
UN 7 ne ; CO: VAC O.ls re Di Me 


ie =P med 
aia. “i Mah te Seem eh 


G it. Ye ae . Pe ner q SS e baal 
\ ; 2 Lei ee ih i y er 


, a4 
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» th jf] ch 
ay 


STYLE 105. 


Two-uiInE Acatr, No. 105. Two-Ling NonpArein, No. 105. io . 
CHRISTOPHER PL ANTIN ANTWERP. PLANTIN HAD 3 OFFICES, AT] 
“KING OF PRINTERS.” 1514...1589. ANTWERP, LEYDEN, PARIS. 

Tw » Minton, No. 105. Two-LIne Brevier, No. 105. 
ALBERT DURER, ENGRAVER | WM. BULMER. a PRINTER 
NUREMBERG. 14°71...1528. OF LONDON. 1757...1830. 


Tw NE BourG , No. 105. 


JNO. BASKERVILLE, OF BIRMINGHAM, PRINTER, 
TY PE-FOUNDER. BORN 1706.) DIED 1775. 


Two-LINE LONG-PRI , No. 105. 


WILLIAM CASLON, TYPE-FOUNDER, LONDON _ 
WAS BORN 1692. DIED 1766. | 


, No. 105. 


ALEXANDER WILSON. TYPE: FOUNDER, 
OF GLASGOW. BORN 1714. 


) Now 105: 


THOMAS RUDDIMAN, EDINBORO’ - 
BORN 1674. DIED 1754. | 
WM. BOWYER, JR. A PRINTER 
OF LONDON. 1699...1777. 


GEORGE BRUCE’S SON & CO., TyPE-Fou 


NDERS, No. 13 CHAMBERS-STREET, NEW-YORK, 
44 


STYLE 106. 


Two-LInE PEARL, No. 106. age Two-Line NonpaAretn, No. 106. re, 
HANS HOLBEIN, OF BASLE, INEELOING Ya. OB WRG Bis 
DESIGNED ENGRAVINGS ON WOOD, NUREMBERG, CELEBRATED 
DIED 1552. En NB ee DED 1513: 


TWwo-LINE Brevinr, No. 106. 
Two-LinE Minton, No. 106. 


ANDREW FOULIS. _ ROBERT FOULIS. 
OF GLASGOW, PRINTER | HIS BROTHER, BORN 
BORN 1712, DIED 1774. 1707, DIED 1776. 


Two-LINE BourGEots, No. LOG. 


OCOLAUDE GARAMOND, OF PARIS, 
mee AMOUS AS THH FATHER OF LETTER- 
POUNDERS, DIED 1561. 


Two-LInE LonG-PrimeR, No. 106. 


gH05. BEWICK, OF HNGLAND, REVIVER 
OF ENGRAVING ON WOOD. 1753...1828. 


Two-ninbh SMALL-Pica, No. 106 


B® RIVINGTON, OF NEW-YORK, KING'S 
' PRINTER, DIED 1809, 


Two-.tine Pica, No. 106. 


WM BRADFORD, HPikst PRINTER 
ENS NG WY ORK (CS 693: 


GEORGE BRUCE’S SON & CO., Typr-FouNnpERs, No. 13 CHamBErRs-SrrEET, NEW-YORK. 
“45 


STYLES 121 AND 600. 


Two-LINE DIAMOND CONDENSED, No. 121. iivé« 
FRANQOIS DIDOT, SYNDIC OF BOOKSELLERS, BORN 1713, 
WAS THE FIRST OF AN HONORABLE LINE OF TYPE-FOUNDERS, 
PRINTERS, PUBLISHERS AND PAPER-MAKERS, 


Two0-LINE NONPAREIL CONDENSED, No. 121. oi? 2m. 
PIERRE FRANCOIS DIDOT 
WAS FAMOUS BOTH AS A PRINTER AND AS 
A PAPER-MAKER, 1732.....1795. 


Two-LINE LONG-PRIM 


Two-LINE PEARL CoNDENSED, No. 121. 17440. 


FRANCOIS AMBROISE DIDOT, A CELEBRATED 


TYPE-FOUNDER, AND AN ACCURATE PRINTER OF THE 


CLASSICS, BORN 1750. DIED 1804. 


Two-LINE BREVIER CONDENSED, No. 121. 


HENRI DIDOT, TYPE-FOUNDER, 


ABOUT 1827, CAST A FONT OF SEMI- 


NONPAREIL BODY. 


2 CONDENSED, No. 121. 


S. L. DIDOT, SON OF PIERRE, | NOTABLE PAPER-MAKER IN 1700 


Two-LINE PicA CoNpD 


, No. 121. 


PIERRE DIDOT, SON OF FRAN COIS, PRINTER, 1760 18335} 


» ENGLI 


Now 


FIRMIN DIDOT, PRINTER SCHOLAR PUBLICIST, ITht. ISS . 


Two0-LINE GREAT-PRIMER CONDENSED, No. 121. 


A. FIRMIN-DIDOT, BORN 1790. IY ACLYTHE, Liu 


Two-LInE Breyer Extra ConpENnsep, No. 600. 


FIRMIN-DIDOT FRERES, IV 1859, PRINTED DAIL, IN THBIR PRINTING OPEICE AT PARIS, 140 my Or PAPER, ; 


LINE PicA Extra Co 


LOUIS ROBERT, OF FRANCE, I 798, WADE BOOK PAPERS bY MACHER 


TWO0-LINE ‘ON ExtTRA ConpEensep, No. 600. 


H, LOURDRIMIER SPENT 6p (00 ON PAPER VACUUMS, 


Oi ee ee 


So NO. 6005 


GEORGE BRUCE’S SON & CO., Typr-FOUNDE 


rs, No. 138 CHamBrrs-Streer, NEW-YORK. 


STYLES 122 AND 123. 


Two-LINE PEARL CONDENSED, No. 122 we Two-LinE NONPAREIL CONDENSED, No. 12% 
LOUIS ELZEVIR, se NE. THE FOUNDER MATTHEUS BLZEVIR, 
OF AN ILLUSTRIOUS FAMILY OF SCHOLARS AND | SON OF, AND SUCCESSOR TO, LOUIS OF 
Two-l1NE Brevier Conp , No. 122 oA. Two-LINE Bot Ms CONDENSED, No. 122. gid os 

LOUIS BLZBVIR IL IN 1590, G,. ELZ BVIR OF LEYDEN, & 

PRINTED AT THE HAGUE. HE | JOOST OF UTRECHT, WERE 

DIED THERE IN 1621, SONS OF IST LOUIS. 

Tw ~ LONG-PRIMER CONDENSED, No. 12 


BONAVENTURE BLZEVIR, “AND ABRAHAM BLZBVIR 
WERE CO-PARTNERS IN 1626. BOTH DIED IN 1652. 


JAN AND DANIEL ELZEVIR SUCCEEDED TO ‘THE 
BUSINESS OF M. BLZEVIR IN 1642 
LOUIS IIL AND DANIEL, HIS COUSIN, WERE 
— OO-PARTNERS & PRINTERS, 1654-1670. 


, No. 123. 


DANIEL. ELZEVIR. DIED AD. 1680. 


4 oz 


THE ELZEVIRS. RB BOOKS 


NEW-YORK. 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No, 13 Cu ERS-STREET, 
AT 


vs 


ROM 


HAN 


3 


i “a 
we 


¥ 


y: 


f 


Wy ee : 


iS os = . be “es a 
oa ' wa ee 


eae ee 
fifa eae a ana 


STYLES 124, 125 AND 160. 


Two-LInE DiAMOND ConpDENSED, No. 124. iit fax. Two-LiInE PEARL ConpDENSED, No. 125. 1.79308 
HENRY STEPHENS, OF PARIS, ROBERT STEPHENS, THE SON OF HENRY, 
FIRST OF A FAMILY OF SCHOLARLY PRINTERS, WAS BORN 1460, A GREAT SCHOLAR AND AUTHOR, WAS BORN IN PARS 
DIED 1520. COMMENCED TO PRINT IN 1502. 1508, DIED AT GENEVA, 1559, 
TWO-LINE PEARL ConpENSED, No. 124.  142%4., Two-LInE NONPAREIL CONDENSED, No. 125. oi dn 


CHARLES STEPHENS, SON OF HENRY, . ROBERT STEPHENS 
PHYSICIAN & SAVAN, BORN IN PARIS 1505, DIED 1564, PRINTED 11 EDITIONS OF THE BIBL 


Two-LINE BREVIER CONDENSED, No. 124. gu 60 Two-LINE BREVIER CONDENSED, No. 125. 31,43) 


HENRY STEPHENS UH. DIED 1598. PAUL STEPHENS, DIED IN 1627 


1p ‘ >) 
Two-LiInE LonG-PriImeR CONDENSED, No. 124. 472 wn. Two-LinE PicA ConpEensep, No. 124. 5 ih 12a 


ANTHONY STEPHENS, 1674. A PRINTER 50) YA TOS) 


TWwo-LINE COLUMBIAN ConpENSED, No. 160. 


j 
Four-LinE Pica Conpensep, No. 125. FivE-LINE PicA ConpENSED, No. 125. 12 ih a 


STEPHENS PRINTED 


SIX-LINE Pica ConDENSED, No. 125. 15 Ib. 8 02. 


RED AND BLACK 


EIGHT-LINE PICA CONDENSED, No. 125. 1 


RUBRICAT 


GEORGE BRUCE’S SON & CO, TyrE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. - 


48 


STYLES 140, 141 AND 142. 


60 a and 30 A 


PHARL Tite, No. 140. rie 
STEREOTYPE PLATES WERE FIRST MADE IN 1725, 


By WILLIAM GED, a goldsmith, of Edinburgh. The process was kept secret. 


Wis plates appear to have been well made, but they encountered 
Great opposition from 
Pressmen, and were Rejected by the Trade. 


Nonparers Tirin, No. 142. 
STEREOTYPING, IN MOULDS OF CALCINED GYPSUM, 
By immersing the mould in fluid type-metal, is the popular modern 

It was perfected in 1802, by 
Earl Stanhope, to whom Typography is indebted for 


60 aand 30 A 
3 Ib. 


process. 


Many Improvements. 


Nonpareit Trrte Roman, No. 140. 
STEREOTYPING IN PREPARED CLAY 


60 a and 30 A 
3 lb. 6 oz, 


‘Was suggested and imperfectly developed in 1820, by Brunel, 


of England. He Stereotyped one column of a Daily 


Newspaper within 20 Minutes. 


Brevier Tirte Roman, No. 140. 


Anso on BourGcnots Bopy. Sry 


' STEREOTYPING BY THE PAPIER MACHE 
Process, by Genoux, Paris, 1829, and first used on 
Nonpareil quarto Dictionary of the French 
Academy printed at Brussels. 


60 aand 30 A 
5 lb, 1 


Lone-Primer Tirte Roman, No. 140.’ 


ALSO ON SMALL-Pica Bopy. 


STEREOTYPING 


40 aand 20 A 
5 lb. 4 oz 


40a an 20A 
5 lb. 


PRACTICALL Y 


Introduced into America, by the firm of 


D. & G. Bruce, New-York, 1813. 


Pica Tirte Roman, No. 140. 20 ane 
THE LARGER CATECHISM. 
The first book ever stereotyped in 
America. John Watts & Co., 
New-York, June, 181535. 


Agate Tirie, No. 140. Soa 


STEREOTYPE PLATES WERE MADE BY M. CAREZ, 
of France, in the year 17S6. 
His process was to make a mould by pressure in semi-fluid type metal, 
and then to fill this mould or matrix with melted metal. 
It found no favor from other printers. 


Minton Tire, No. 140. 
ELECTROTYPE PLATES FOR PRINTING 
were made at the same time, without 


6Oaand 30 A 
4 lb. 5 oz 


Mutual knowledge or concert, by Professor Jacobi, 
of St. Petersburgh, and J. C. Jordan, of 
England, im 1839. 


60 a and 30 A 
3 lb. 9 oz. 


Nonparnit Tirne Iraric, No. 141. 
ALEXANDER ©. TVILLOCH, Editor of 
Philosophical Wagazine, assisted by WM. FOULIS, printer to 
the University of Glasgow, after many trials, made plates 


in 1780, that gave impressions as clear as types. 


Brevier Tirne Iranic, No. 141. Me ae ee 
Aso oN BourGgEots Bopy. 60a aut 308 


FRAWVCOIS IGNACE JOSEPH HOFER WAN, 
of Alsace, in the latter part of the Last 
Century, made Stereotype plates with a mould of 
plaster, sum and starch. Feb. 16, 1792. 


LONG=ERIMER ELT ER ET AbICs wNOws1 4 ees te oe 


5 lb. 


40 aand 20A 
5 Ib. 12 oz 


Mm. GATTEAUX and WM. AUFRY’, 
Printers, of France, in 1795, made plates 
by pressing types in a plate of hot 
lead, and casting therefrom. 


AuLso oN SmMALL-PicA Bopy. 


Pica Tirte Iraric, No. 141. woth Boa. 3 
THE WEW TESTAWUENVT 
Was first stereotyped in America by 
D. & G. Bruce, of Wew- York, 


on Bourgeois, in 181A. 


GREAT-PRiMER TITLE Roman, No. 140. Bee ae 


THE FIRST AMERICAN STEREOTYPE BIBLE 
Dated June, 1815, composed in Nonpareil types, 
| and Stereotyped by D. & G. Bruce, New-York. 


GREAT-PRimeR TrrLe ITaAuic, No. 141. 


THE STEREOTYPE SELAVEYG ed C HVE 
Invented by David Bruce, VWew=- Vork, in 181A. 
First ased on above mentioned Bible. 


GEORGE BRUCE'S SON & CO., 
49 


Typr-Founpers, No. 13 CHamBers-Srreet, NEW-YORK. 


ete eh 
Bs 


» ie a a : a 


” 


he 


yy 3.95 


STYLES 145, 144 AND 145. 


143. 


JOB PRINTING is as old as, if not older than, Book Printing. 
Three Forms of Letters of Indulgence, a half-sheet demy blank, printed 


Nonparett Trrte Roman, No. een aor 


in black ink, and on one side of the parchment, bearing 
Dates of 1454 and 145 
subsequently used by John Gutenburg. 


5, were printed in Mentz, with types like those 


143. 


60 a and 30 A 
5 lb 


3REVIER Tirte Roman, No. 


PRINTING COLORED INKS was first 
Shown in the rubrics and the colophon of the Mentz 
Psalter of 1457 by Peter Sch6ffer. 

The ornamental initial letters were engraved on wood, 
The 

Impressed lines were painted by a brush. 


in 


and impressed without ink, on the paper. 


Long-Prmer Tirnn Roman, No. 143. 


VERY LARGE TYPES, 
Were made and used in 1540 by the famous 


40 a and 20 A 
5 Th. 


size not given, 


Robert Stephens, of Paris, for printing the 
Decalogue, in the form of a poster. 


380 a and 15 A 
5 th. 14 02, 


Pica Trrue Roman, No. 143. 
The First Book ever printed 
with PTALIC lowercase letters was 
a Virgil, dated April, 1501, 
by ALDUS MANUTIUS, of Venice. 


It had Roman Capitals. 


Nonpareit Tirue Iraric, No. 144. 80 a an eee 


lb, 2 oz. 


A PRINTED ALMANAGC, or more properly a Calendar, / 
57, was discovered by M. Fischer among a bundle of old 
Manuscript Documents in the archives of Mentz. Y 
From the peculiarities in the cut of the types, it is supposed to have 
been printed by Gutenberg. ¢ 


For 


BrevieR Tirte Iraric, No. 144. 00S Re 


LEADS for the WIDENING of LINES of TYPE, 

Were first used by Peter Schéjffer in an edition of Cicero, — 

printed by Fust & Schoffer, Mentz, 1465. i 

The composition of the Constitutions of Pope Clement V. | 

printed by Schoffer in 1460, has been much 
admired for its skilful workmanship. 


Ao 


No. 144. 


GUILLARD was the : 

Shehada 

printing office in Paris for 50 years, | 

from 1506 to 1556, and was justly celebrated 
for the correctness of her books. 


Lone-Primer Tirne Iraric, 
CHARLOTTE 
First distinguished female printer. 


40 a and 20 A 
5 Ib. 


Pica Tirrue Iranic, No. 144. 20 0 ait 
CAPITAL LETTERS, or 
Fd 


LITERH MAJUSCULA, were first” ; 
used together, or in a body, — 
as a text type, by some printers of 


Strasburg, Germany, 1480. 


604 and 30 A 


No. 145. 
HIGHLY: ORNAWUBNTIAL CAPITAL T7 PHS: 
LITERA FPLORENTES, were first used together in display lines by 

Erhardus Ratdolt of Venice, 7477. 


Nonparei, ENGRAVERS’ [TrAxic, 


He enjoys the honor of 
being the first io print in letters of gold, which may be seen tin his 


edition of EUCLID, und of STM PLICIUS, 7499, 
and of AMMONTIUS, 7500. 
LonG-Primer ENGRAvpRS’ Iratic, No. 145. 4° and 20a 


LXPENSIVE BOOKS 
Tn separate parts, 


PUBLISH LD 
as early as the year 7589. 
/n this year Robert Stephens of FP arts , 
Printed and published the Mebrey Ser tplures 
tn twenty-four parts. 


60 a and 30 A 


Brevirk EnGRAvers’ Iranic, No. 145. Vion 
[TRHEK TVPHS OF CORRHCT KORA q 

Were first made and used by Sweinheim and Pannarta, oe 
a a Lane Ee near aoe as Be hese 


is 76 57 6. The pie of Wapien were 
printed tn Ltaly in 7486. 


Pica ENGRAVERS’ Irauic, No. 145. *°\=0ia . 
LEMALE COMPOSITORS. 
Women were employed, and commend 
as book compositors, tn the offices 
Of Llaly, as early as 7Z£87. 


GEORGE BRUCEH’S SON & Co., 


TypE-Founprrs, No, 13 CHamBers-Streer, NEW-YORK. 


50 


STYLE 160. 


BrevIER TITLE ConpDENSED, No. 160. °34,'"°04 Lone-PrimerR Tirte Conpensep, No. 160. 4°,%j4?0 4. 
sO ROLLERS. FIESE “MENTIONED MELCHIOR of STANHEIM FOUNDED A PRINTING 


In the patent for printing machine, granted to Bacon and Donkin, 


mat DD <¢ Q 5) “ing ic D “iN 
Noy. 23, 1813, in which a mixture of glue and treacle is Office in 1472, at a cost of 102 florins, of which 73 florins 
plainly described, B. & D. claim the method were paid for five printing presses. 
of making Rollers, but not of mixing composition, which appears 
to have been then in use in the Staffordshire Potteries, 
GREAT-PRIMER TITLE CONDENSED, No. 160. 7°22 4 


Pica TirLE Conpensep, No. 160. OCF f EARL STANHOPE, in 1 98, 


THREE HUNDRED SHEETS PER DAY was the : : ? aa ae “ 
Performance of a German pressman in 1475. 300 or Made a new Hand I BESS: all ire n, 


600 impressions? White paper or Perfect? with platen as large as the bed. 


DousLe SmMAuL-PicA TrrLeE ConpENSED, No. 160. aac rsiene 


TWO THOUSAND DMPRESSIONS were rated as a day's “fair work 
by the French Master Printers of the 16th apie 


DousBLe ENGLISH CONDENSED, No. 160/ 


Inking Rollers, passing between Bed and Platen. 
Patent of JONAS BOOTH & SONS, 1829. 


DousLE PARAGON ConpENsED, No. 160. 


‘12 TOKENS, task of 1820 in N eW- York 


CANON CONDENSED, No. 160. 


CYLINDER Press. A.D. 1813 


Four-LINE PicA CONDENSED, No. 160. 


he Rust PRESS, 1821 


as an & 4 


TEN-LINE PicA CONDENSED, No. 160. 


SEVEN-LINE PicA CONDENSED, No. 160. 4) iy RU | { 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAmMBERS-STREET, NEW-YORK. 
51 


‘tea = 


Fae 


#FE 


as 


3 


ry 


7 


LOY. 


oak 


| 1s se | ‘9 tol 


STYLE 161. } 

PEARL Aupine, No. 161. 30 aiand aoe NonpareiL. Aupine, No. 161. 00,8 aad 30.8 | 

WILLIAM CAXTON, THE FIRST ENGLISH PRINTER, AT 15 YEARS OF AGE WILLIAM CAXTON WAS APPRENTICED to _ 

Was born about 1412. Undertook to learn the art at Cologne, when he was nearly 57 years of age. Robert Large, mereer, of Londons at 80 he left England for the Netherlantill 


Introduced. printing in England, at Westminster, in 1471, and, before his death, in 1491, 
had translated and printed not less than 5000 quarto pages. 


at 52 he was one of a special commission to make a treaty with the 
Netherlands, and for many years acted as English Consul. 


* Brevier Aupine, No. 161. Oth. 44 05 Lone-Primer Anping, No. 161. 40 a and 20.4 |p 
n ny YA N IT AVE Ab ‘ 7 . 
ube sane aramiardaparn sed teres eS CAXTON’S ENGLISH PRINTING OFFICE 
rranslated out of the Frenche, and Emprynted by me, William Was in the precincts of Westminster Abbey, but no 


Caxton. Fynysshid the last day of Marche, the yer : 
of our Lord God, a thousand foure hundred in the Chapel. He sold his books in 1482, 


and Ixxiiij, 1474. at the Red Gate of the Almonry. 
Pica Axupinr, No. 161. SOS GREAT-PRIMER ALDINE, No. 161. 76 Ib. 14 onl 


THE RECUYELL of the HISTORIES of THE GOLDEN LEGENDE, 


TROYE, by Raoul le Fevre, the Ab ° ° > : 
ist: ook of 464 folios, is the F 
First Book printed in English by Caxton. of 464 folios, is t nS 


Printed at Cologne, 1470. Specimen of Caxton’s Printing. 


DouBLE SMALL-PicA ALDINE, No. 161. ee 
’ a 1 12 


THE DICTES AND SAYINGES OF THE 
PHILOSOPHERS. Was Printed by Caxton, with date, 1477 
It has no Title-page, Folios, Catchwords or Signatures. 
“I, in my manere, folowed my copye.” 


DousLe EnGiisn ALpINE, No. 161. Ae aaa 


THE LIBER FESTIALIS, in Folio. 
Enprynted at Westmynster by Wm. Caxton, the! 
laste daye of Juyn, A.D. mececlxxxiij, 1483. 


i 
f 
( 
} 
| 


DousLe GREAT-PRimpR ALDINE, No. 161. aye 


WYNKYN DE WORDE, : 
Successor of Caxton, a type-founder 
and printer, died at London, 1534. 


GEORGE BRUCE'S SON & CO,, Typr-Founprrs, No. 13 CHamMBERS-STREET, NEW-YORK. 


52 - 
/ s 


STYLE 161. 


Canon Aupine, No. 161. i2eapandaseA 20) IbsiSnoz. 


PY NSON, in 1498, first use 
Roman types in England. 


Srx-LiInE Pica Auping, No. 161. 5 a and 5 A, 31 lb. 8 oz. 


FAQUES, Printe 
in London, Lit 


E1GHT-LiInE Pica AxLpINnE, No. 161. 4 a and 4 A, 48 lb. 8 oz. 


Rich. Grafton 
BIBLE 1559 


GEORGE BRUCE’S SON & CO., TypE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


53 


Lee, 


eee J 
Pes 


2 


eae 


rc 
L 


yrewegyt 


9. ein) 


tis (ives 5? Se © ae zi 
~ RRivA Wilt) RUE, nha le | ns Cait A aac t 
EAMG ZARA RTA) Oh > ,FHIAHOOUNT YO HOT SATZ) Dads a 
agit Wil avbliah Me Petidaitnt mol ol tn. MOTE Yo GIT) ely ot iat aw yaesdtaTO) Mma hae 7) 
oy) wrod. mii itty viessitla 1 
my duit ban xlerdivo gniining uo ovsetie ly 26k RENT . aie Yo Vind dul ARPT tee ; 
Bacsissn agin senelioth an! ; sit ye hopatqanas ew title leeanldy fol afd ad nf 
Paes eeenimaly i. ihvitlif yaetod cet OL sodiny rod HORT oh . le a mgdvonnd vohtile 
re 
, wer anevada) 31 i 
mya : see reyry OT! ay : ny) i] i 
Tat ZOU tH | fH) i 
D - ‘ie ® ; 44 : > . a mu ‘ , anPe i. ; =f ant ' ; 
Bae) mnie fa ti ae buuell vilenel we . tt | 
¢ Age . ; at Thee bite ity the | ti lipt H*} isi! lili 
ae 4 te } 1») Annie ' : . “ : “yi : 
nt HUG Wad Fh 6 Hye hed » teens hi waged oy nT al 
Pat sa A i 7 \ ' 4 > 
ie 
ats} TPA | ery es art 
eee ot die iy lddy of oo) FORETO A \¥ | Hitt 
at ee 5 : 4 : 2 ; . { te q 
eo Hivod lis hobeiiamlll joo ist Hall oslt tn gqun 
memoie 614 to Hol) winigoliy dil) fy vege] iis ae 
. P ee J 
) miimuezt wi! ta na T atl) gu febolainer) 
‘1 r , my! : * : 1a ane j | 
ton ol ney elf ji ok 
Lae : : a TOL 
Elulob Tle th Hd ATA LATN 
Hn hehe ABW vhidia Casas tad | 5 
Bena) 110 ie ae 
, mate O} atoDitte) SP nO Bare 2097 Aor 


Put" ne Dn . HW hLiOrterts ‘yf dole erret) Be 


ana Th AO AO START GUE LAL AOL 
Bi Tithe if ys borwd 2pw bos OLL tis 
= oe | | 


ay al VIAL WO) CHEETA AL 
w 1 -grodiisith () A110 H( balding HOM G64 


a 


mh v spree tne Dd feinvtd Pull aire vn fee 
. i - ” Br i? 


+ Rasiya 
rea die AOrd 7009 


STYLES 162, 163 AND 601. 


BREVIER CONDENSED, No. 162. oo ia cena LonG-PRIMER CONDENSED, No. 162. 495,470. 4 t 
JOHN GUTENBERG, INVENTOR OF TYPOGRAPHY, JOHN FUST, A FAMOUS MONEY-LENDER, OF MENTZ, 
Son of Frielo Gensfleisch and Else Gutenberg, was born in the City of Mentz, | Lent to John Gutenberg 1,550 (uilders, for Five Years, securing it b 
about 1400; experimented fruitlessly with types at Strasburg from Klee ; ; ft 
1424 to 1439; formed a partnership with John Fust of Mentz, 1450, for the Mortgage on printing materials, and half profits of the Bible. 
Printing of the Bible in 2 volumes, which was completed by Peter The Mortgage was foreclosed, 
Schiffer, Gutenberg’s successor in the firm, 1455, November 16, 1455, before Ulrich Helmasperger, Notary. 
PicA ConpENSED, No. 162. S0im and 1D e 
ENGLISH CONDENSED, No. 162. uteri. 


PETER SCHOFFER, ILLUMINATOR, 


Letter-designer and Punch-cutter to John Gutenberg, THE SCHRLEORN OU s 


and subsequently partner with, and successor to, Usually Bound up in 3 Volumes, is supposed by 1 
John Fust, was born 1430, and died 1502, authors to have been made by John Gutenberg, — 
Lon@-PRIMER CONDENSED, No. 163. “4y"2 oe. * Pica ConpENSED, No. 163. *re ih 6 oa : 

COLOPHON TO THE FIRST VOLUME OF THE BIBLE OF 42 LINES, COLOPHON to 2d VOLUME of the BIBLE of 42 LINES) 
As may be found in a Tattered and Mutilated copy of the Book This Book, Illuminated and Bound by Henry Cremer, ! 

In the National Library at Paris. Here ends the first part of the Bible or Vicar of the Collegiate Church of St. Stephen at Mentz, waslt 


Old Testament, Illuminated, or Rubricated, and Bound by 
Henry Albech or Cremer, on St. Bartholomew’s day, August 24, A.D. 1456 
Thanks be to God. Hallelujah ! 


Completed on the Feast of the Assumption of the blessed ~ 
Virgin Mary. Thanks be to God. Hallelujah! Y 


DousLe Pica CONDENSED, No. 163. 2% 474,124 

PARAGON CONDENSED, No. 163. opie suena 
GUTENBERGS BIBLE was sold at Arehbishop Adolph IT. nensioned | 
Various Prices, ranging from 12 Guulders to JOHN GUEENBERG in 1465, He 
60 Crowns of Gold, unbound. Died February 24, L468, | 


Dousie En@uish ConpENSsED, No. 163. ae 


JOHN FUSE, THE PARTNER OF JOHN GUTENBERG, died i in 
Paris, 1466, and was buried at Chureh of Saint Victor 


DouBLE GREAT-PRIMER CONDENSED, No. 163. 


THE LEPPERS OF INDULGENCE, date Ld and 
1455, were printed by John (iutenbere: OL Menta. 


| 
| 
} 


I 


SEVEN-LINE PicA ExTrrRA-CoNDENSED, No. 601. “a8 ic, 
5aand 5 A 
17 lb. 4 07 


THE Mea PNALAer, 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHamBers-StreET, NEW-YORK. 
54 


FivkE-LINE PicA ExTRA-CoNDENSED, No. 601. 


STYLES 164 AND 602. 


NONPAREIL CONDENSED, No. 164. 


60 a and 30 A 
2 Ib, 4 oz. 


PLAYING CARDS were the first Merchantable Fruits of Printing. 
Previously made by Stencil Plates, they were cheapened by being Engraved on Wood, 
and Printed under Press. The Manufacture of these Cards is supposed to have 
been a distinct trade in Holland and Germany before 1400. 


Lonea-PrRimMER CONDENSED, No. 164. See 


CHILDREN’S ALPHABETS AND SCHOOL GRAMMARS, 
Engraved and printed from solid Wood Plates or Blocks, were 
the next productions of the art. 2 Single Leaves or 
Blocks of a Latin Grammar, Engraved about 1450, are in the 


BREVIER CONDENSED, No. 164. SO a and S18 


b. 6 oz. 
PICTURES OF SAINTS AND RELIGIOUS SUBJECTS, 
With and without explanatory words, were Engraved on Wood and Printed 
by Monks, to counteract the evil tendencies of Playing Cards, 
A Print of St. Christopher, dated 1423, is in existence, 


Pica CONDENSED, No. 164. Bo acand 2BeA 
THE SPECULUM SALUTIS, WAS PRINTED 
In 4 editions, from 2 faces of Cast Types. by an 
Unknown Printer, near Utrecht, between 


the years 1462 and 1480. 


National Library at Paris. 


DousLe SmAui-PIcA ConpENsED, No. 164. = 7°,%,3n 22 4 


J. BELLAERT of HAARLEM, 

_ Was the First Typographer in 

that Town: began to Print 
Books there in 1483. 


20a a 10 A 


28 wand 3214 


Great-Primer ConpENsED, No. 164. ate 
LOURENS JANSZOON COS TER, 
Imaginary Inventor of Typography, 
Tallow Chandler and Inn-keeper. 
Left Haarlem in Year 1485. 


DousBLE ENGLISH CoNnpDENSED, No. 164. 


THE ABECEDARIUM, a work of the Unknown Pr inter, 
Contains but 8 pages, and has 9 lines to the page. 


DovusLr GREAT-PRIMER CONDENSED, No. 164. ROuEBOFOR 


ANDRIESZOON, 2d Printer at Haarlem, [486 


12aand7 A 


Canon ConpENSED, No. 164. 24 Ib. 


HASBACK, third Printer, 1502 


60 a and 30 A 
3 Ib, 2 oz. 


LonG-PRimeR ExTrRA-CONDENSED, No. 602. 
THE TYPE WORK OF ALL THE EDITIONS OF THE SPECULUM SALUTIS 
Still retains its Black Color, in marked contrast with the Brown Tint of the lines and letters 
Engraved on Wood, The Ink that is now Black was Mixed with Oil, and keeps its first 
(olor; the Ink that is now Brown was Black mixed with Water and Gum. 


BREVIER ExTRA-CONDENSED, No. 602. ° 8,780 4 | 
THE WOOD-CUTS OF THE BIBLIA PAUPERUM, AND THE SPECULUM SALUTIS, 


ht Speculum Humane Salvationis, The Mirror of Human Redemption, as it is sometimes called, were 
Printed on one side only of the Paper, and now appear of a Dull Brown Color. Vide 
Description, as given by Hadrian Junius, Batavia p. 253, ed. Lugd. Bat. 1588 


410A ExrRA-CONDENSED, No. 602. aa 
Pic x 


TWO KINDS OF INK AND TWO IMPRESSIONS WERE USED in Printing the Barlier Books of the Unknown Printer of the Netherlands : 
thin fluid watery Ink for the Wood Cuts, and a thick oily Ink for the Metal Types. The accidental overlapping of the colors in Printing proves both the double 
Impression and the use of two kinds of Ink. Curious Blemishes of Presswork prove that the work was Printed on a Press provided with a Frisket. 


GEORGE BRUCE’S SON & CO., Typr-FounpErRS, No, 13 CuamBers-Srrent, NEW-YORK, 


55 


al 


diy ee ane aan ee 
orf ly ‘ soltahet hi uli vaibe tile erat tl ial) te 20409 anit 


any How bakers yore af ie sak? wpe, Avene cont Aah [eames ns 

f Y ’ 

; ! a? Die roi # eal seed f Te as “eR ba woe ae Fatt | she | ‘ 
we see 1 oat gwiet cana lie Hache th Wihied ae sin! La aie a > 


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mo i a oe sMewitll ne hel) lawl? ile an vl [ uit ing bog d 
: ' ‘ bs af 
i fo aitieal Staal & hus oH Weep epi erty ieee 
eh i my bah : ; ee iia? mS 
Ms ont cet dhe pote: bey aca oe ae 
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tr hefles mails if és poi tgen ti camel! * writ ff imei 
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Bie > j wie Te haigsn' P-4 

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nail hy 


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{ ne | laid etal 1 bh 
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STYLE 603. 


BrEVIER ExTRA-ConDENSED, No. 603. “245.” Lone-Primer Exrra-ConpENnsep, No. 603.  4°3437422 4 


CADMUS, FOUNDER OF GADMBA, AND THE INVENTOR OF LETTERS, 1493, B.C., THE ALPHABETS OF NATIONS, HAVING PRETENSIONS TO LITERATURE, 


Ds a dei lea gets LS. Contain the following Letters, exelusive of Dipthongs, Double Letters, Accents, and Contractions; 

Hebrew, Assyrian or Phenician Characters, and w radually changed in form u ntl they 
Became the ground of all Letters now used ata rope, os - Teith seaannata , of Argos, added Bnelish, 26. French, 25, Talia, 20, Spanish, = 27, German, 2 
| 4 Letters, 1224, B.C. ; Simonides added 4 more, 489, B.C, The Gre ph nae Slavonic, 42, Russian, 35, Latin, 22 © Greek, 24. = Hebrew, 22, | 
ee, ine sae Aa oc : e or me eo es te i Arabic, 28. Persian, 32, Turkish, 28.  Sanserit, 44, Armenian, 38, 

of much later invention, and were used only where rapid w se as pert The Chinese Radical Characters number 214. | 

Pica ExrrRA-CoNDENSED, No. 603. *4 474.5." GREAT-PRIMER EXxTRA-CONDENSED, No. 603. 3,040 * 
WRITTEN AND PRINTED ALMANACS AND YEAR BOOKS THAT HAVE FRANCE SURPASSES ALL OTHER NATIONS IN ALMANACS, 

) PE SU MULAN 8 (ne publisher announced 30 diferent Almanacs for 1870, 
Regiomontants, in German and Lat, . . . . 1475-1006, oi 
Firs printed in England by Richard Pn ‘iG ee 497, The Alnanach Imperial and Almanach de France, each contams 
Tall’ Poquoson, 1533, Alana Legos, 1630, about 1000 solid and closely-printed octavo Pages, 

Me ‘tish Merlin. =. =. 1658, vas y | 
ils es fee eae ne Some are Statistical s more ate Astrulogical and Neeromantie | 
Moore's AImanac =. 1698, Nautical Almanac, =. (767, i 
Connaissance des Temps. 1609. Chambers’ Book of Days, 1862. Most of them are of @& Humorous characte ( 


DouBLE SMALL-P1cA ExTRA-CONDENSED, No. 603. 


TIE ALANACTE DE GOTTA TAS THE OST HONORABLE RECORD OF ALL EXISTING mn | 
Being We TTT Tear of Poti, Tbs 4 tard Biogael and Sasha Author on all mates en etl le 
Genealiwy of Sovereiens, a the alimustration of the Puble ti if Euroyean Governments | 


DouBLE ENGLISH EXTRA-CONDENSED, No. 603. 


BEMANIN FRANALEVS QEMINE DUP CELBORATED AMANNG, | 
Too Ried Mine, yas st Priel im the City of Pe, tm 732, Tt vase st Rat 
Alaae of 8 chass, The Tene exstine Copies when sold, command Great Pres, 


DouBLE GREAT-PRIMER ExTRA-CONDENS sED, No. 608. 


THE MAAC (H4in-Lo06) OF RECHOMONTANTS, OP HLA | 
Care onl) the Eeles ad Places of te Planes, sold Wie 10 Chowns of Gal, l 
Wi bi lal ni ant Lath tk He leo oF Mattias Corvinus 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
56 


: STYLE 


180. 


SOF a and 30 A 
2 lb, 14 oz. 


No. 180. 
WILLEM JANSEN BLAEW, OF AMSTERDAM, 


PEARL EXPANDED, 


A Mathematical Instrument Maker, and Assistant to the 
Astronomer Tycho Brahe, in 1601, made a very Great 
Improvement in the Mechanism of Hand 


AGATE ExpANpED, No. 180. sae tia 
ALL HAND PRESSES MADE BEFORE 1790 


WERE OF WOODEN FRAMES, IRON BEING USED 
ONLY WHERE ITS USE WAS UNAVOIDABLE. 
THE BED WAS OF SLATE OR MARBLE; 


> 


Presses, by using Springs to give a Quick Return Movement | THE PLATEN OF HARD WOOD, AND BUT HALE 
to the Platen after Impression. He built Nine Presses THE SIZE OF THE BED. TWO IMPRESSIONS 
for his own use, and named them after WERE NECESSARY TO PRINT 
THE NINE MUSES. s A FULL SHEET. IRON PLATENS FIRST USED IN 
He was born in 1571, and died in 16838. THE APOLLO AND ROWORTH PRESSES. 
NoNPARFIL ExpANpED, No. 180. Sains 
IN 1798, EARL STANHOPE ENTIRELY RECONSTRUCTED THE HAND PRESS. 


He took no Patent for this or any other of his Inventions. His was the first press built entirely of Iron; the 


Bar was attached to the near side of the Frame; the Power was 


applied by a connected series of 


Compound Ievers which gave an Increasing Impression with a Decreasing Exertion. 


Breyier Expanpep, No. 180. ened oe 
THE RUTHVEN PRESS was Patented by John Ruthven, Nov. 1, 1818. 


‘WG was the First Press in which the Bed was Fixed. The Platen moved to and from 
the Bed on Friction Rollers....Power was appled through Compound Levers 
working under the Bed. It seems to have been the Model for many 
features of the present valuable Adams Power Press. 

No. 180. “Ge 14 Oe 
THEH CLYMER PRESS was Patented in England Nov. 1, 1817, 
‘By George Clymer, of Philadelphia. The Bar was fixed to the offside of 
the fee Power applied through a Combination of 3 Levers 
and a Counterpoise. Much Bproved for Heavy Work. 


LONG-PRIMER EXPANDED, 


30 a and 15 A 


Pica ExpAnpeEp, No. 180. 8 Ib, 6 oz. 


THE TREADWELL PRESS was Patented in 
Mosland, January 25, 1820, by Daniel Treadwell, of the 
(Wnited States. The Power was applied by Treadle 
working a heavy Weight or Counterpoise. 


| 


25 aand12A 
14 lb. 6 oz, 


mere CURT PRESS. was once 
A favorite in the New-England states 
—6 Otis Tufts, Boston, Patented I&8&13. 
| Its peculiarity, the ‘Vogele-joint. 


GREAT-PRIMER EXPANDED, No. 180. 


10 A 
12 |b. 2 oz. 


UNO. JJ. WELLS PRESS, 
PATENT FEB. &, 1819. 


GEORGE BRUCE’S SON & CO., 


Two-tinge Pica Expanpen, No. 180. 


Typr-Founprers, No. 13 CHAMBERS-STREET, NEW-YORK. 


57 


> : CG a 
i” MS 1 IAL ne 
* 4 


WF 3 a pe if 
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i - . as 


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STYLES 181, 182 AND 183. 


NonPAREIL ExTeNDED, No. 181. sane 
"Eh Ee ES Re =" -~ TP? Hee. fF ™“.) "s- = P 7S EB Be ‘S'S “AR Ss 


eH SA = PE BE WY -D,aPEE DS 42. 8) 2” 2 OD BEE BE Ea. . EE ES BaP Fe E— _ a ee 


BREVIER ExtTENDED, No. 181. rote 
"EH Ea h—_: Wane BCH CA HWE FM, ESE ESE  B— Fs A oaks Dn YY mw 


aR _UBa@RP 2RPDE- — 4 GDH BSE ES 2DE 82°2235<2 FE” 4 Ge BS. 


Two-LIne Paar Exrenpep, No. 181. 4 tb 6 of. 
EH A CQ” HEHE FH” QA GE QD "ER “BEES EE EH ES Bu. a< 
He SS <= a'@d€apHu.G Wt @S arPax a2 HUF , Hc Sse 


NONPAREIL TrrLe ExpAnpep, No. 182. %2,76804 BrREVIER TITLE EXPANDED, NO. 182. “76228 


COVERDALEH’S BIBLE. THE BREECHES BIBLE, 
The Hirst Bible in English, supposed to have been So called from its rendering of Aprons 
ri Aad Zurich, Switzerls 4 5 A orate 
HE asnted sng Zurich gS witzoxan ae as Breeches, book of Genesis iii. 7, 
By CHRISTOPHER HROSCHOV ER, intean L 1 ~ 
Was Published October 4, 1535. Nene dat me eearny ae ee 
CHRISTOPHER BARKER, 1578. 


40 a and 204 
6 Tb. 0%, 


Ib, 12 30 aand 15 A 
B lb. 


LONG-PRIMER TITLE EXPANDED, No. 182. 
4 Dy SHOPS’ $I =D) 
EEE ae ae 1Bj iad A ROMAN CATHOLIC 
RPBmOo CAaALeC 9IeCAUSEG | 
Authorized Version of 


Kight of the fourteen Translators ; | 
were Bishops, was Printed by ‘Testaments, Hirst Printed: 
RICHARD JUGGE, New, at RELEITIMS, L582. 


London, 156s. | Old, at DOU AY, 1609. 


Pica Tirne ExpANvEn, No. 182. 


| 


GREAT-PRIMER Titty Expanpep, No. 182. oO IM 


THE POPULAR KING JAMES’ BIBLE, - 
‘Phe present accepted Protestant Version of | 
the Holy Scriptures, was Printed by 7) 
ROBERT BARKER, of LONDOR, 1G. 
. 


10 aand5 A 
15 lb 


Dousie Pica Tirte Exrenpep, No. 183. 


En EL EBERLE 


EEQD EES WW ED, S68 8. 


GEORGE BRUCE’S SON & CO., TypE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
58 


First euh Pie WC 
THE GAZETTE DE FRANCK 
Dr. Theophraste Renaudot. 
May I, Mil. 4 pages..1 Sol 


The First Mlustrated 


WERCURIUS CIVICUS 
tinulin. Wb, WU 


9 


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STYLE 200. 


Nonpargit Gorutc, No. 200. a Beato | Brevier Goruic, No. 200. Pee 
LA GAZETTE DE FRANCE AND LA FEUILLE DU BUREAU DOCTOR THEOPHRASTE RENAUDOT, 
WERE USED BY DOCTOR RENAUDOT, FOR | EVERY SATURDAY, 
THE ESTABLISHMENT OF A GREAT INTELLIGENCE OFFICE FOR THE PRINTED A SHEET OF ADVERTISEMENTS ONLY: 


LA FEUILLE DU BUREAU D’ADRESSES, 
PRICE | SOL. JUNE 1/4, 1631. 


CONVENIENCE OF HIS ADVERTISERS. MET WITH WONDERFUL 
SUCCESS: WITHIN 3 MONTHS, HE HAD 50 CLERKS. 


: Two-LInE NonpArert Goruic, No. 200. 3 ban 
Two-LineE Prart Goruic, No. 200. ee ’ p. 6 on, 


IN THE EIGHTEENTH CENTURY DURING OCTOBER, !79I, 
THE PRICE PER ANNUM OF A FRENCH AT LEAST 500 PAPERS WERE 
WEEKLY PAPER WAS 48 FRANCS. | PRINTED IN PARIS. 


ap B G No. 200. Nea Two-uine Lonc-Primer Gorutc, No. 200. 6134. 
WO-LINE REVIER FOTHIC, NO. BARK Sie 


28 NEWSPAPERS FIRST DAILY 
WERE PRINTED IN THE PAPER AT PARIS, 
YEAR 1774 AT PARIS. | YEAR 1777. 


Two-LiInE Pica Goruic, No. 200. we 
5) 8 Ib. 2 oz. 


lOS LICENSED, 20 UNLICENSED, 
PRINTERS IN PARIS, 1665. 


TWO-LINE GREAT-PRIMER Goruic, No. 200. vane 


ULRICH GERING, PARIS. 
DIED AUG. 23, I5I!0. 


Four-LINE Pica Goruic, No. 200. 


j 
i 


5 
15 Ib. 4 o 


GEOFFREY TORY 
DIED 1550. 


GEORGE BRUCE’S SON & CO., 


Typr-Founpers, No. 13 CHAMBERS-STREET, NEW-YORK, 
60 


STYLE 201. 


Nonparem Goruic, No. 201. aan Brevier. Goruic, No. 201. EGE: 
THE FOLLOWING STANDARD FOR BODIES OF TYPE, THE NUMBER OF EMS IN A SQUARE FOOT 
Adopted by GEORGE BRUCE, in the year 1822, has been found very satisfactory, When Cast according to the Foregoing Sater) is as follows, 
It disturbs but trivally the sizes which are most frequently used, while it fixes the in ems and decimals: 
body of every size in exact and correct proportion with other sizes. Par 
Half Minion, 64,507.95 English, 4,031.74 
These are the number of Ems and Decimal Parts in a Running Foot: Half Brevier, 52,000. Columbian, 3,200. 
Half Minion, 253.98 English, 63,49 Diamond, 40,637.46 Great-Primer, 2,539.84 
a eee Saat se ie 56.56 Pearl, 32,253.97 Paragon, 2,015.87 
iamond, 201.5) reat-Primer, 50.93 ’ 
Gear|, ieaee eeracant wales Agate, 25,600. Dbl. Small-Pica, 1,600. 
Agate, 160. Double Small-Pica, 40. Nonpareil, 20,318.73 | Double Pica, 1,269.92 
Nonpareil, 142.54 Double Pica, 35.63 Minion, 16,126.98 | Double English, 1,007.93 
Minion, 126.99 Double English, 31-74 Brevier 12,800. Dbl. Columbian 800. 
Brevier, 113.13 Double Columbian, 28.28 B re , 6 Dit Ga Pr ee 6 6 
Bourgeois, 100.79 Double Great-Primer, 25.19 ourgeois, TORO | DI. Grr rimer, 34:9 
Long Primer, 89.79 Double Paragon, 22.44 Long-Primer, 8,063.49 | Double Paragon, 503.96 
Small-Pica, 80. Meridian, 20. Small-Pica, 6,400. Meridian, 400. 
Pica, TMi2z Canon, 17.81 Pica, 5,079: 68 | Canon, 317.48 
lg etdard is aed ep Sh paar pee ae Oceare Lee A study of these Tables will raw that every Body is adjusted 
can be evenly increased by extension at evenly gradua ; a 
Squares, which should be made Larger or Smaller by increasing or diminishing in in exact proportion to all other Bodies. The per- centage of in- 
Geometrically exact proportion the area within the Square. An evenly-graduated crease or decrease between Sizes is Uniform. Minion is as much 


increase by extension of Line will unequally increase the Size of the Body, larger than Nonpareil in proportion, as English is larger than Pica 


LONG-PRIMER Goruic, No. 201. ene 
BRUCE’S STANDARD FOR BODIES OF TYPE 
Is based on the System of Geometrical Progression. It fixes the Sizes at distances apart which seem unequal when the 


Different Bodies are Measured on a Line, but at distances which are Geometrically correct when the different 
Bodies are set up in Pages or Columns. The Sizes Double at every 7th progression in any part 
of the series: each Size is, therefore, 12.2462 per cent. Smaller than the Size following. 


Pica Goruic, No. 201. Hye eee 


4 |b. 2 oz. 


Timemetey POGRAPHIC POINT.., THE FRENCH STANDARD OF BODIES 


Was Introduced by Fournier the younger, of Bree in 1737, and is based on the System of Arithmetical 
| Progression. Types are known only by Numerical Names. Body One is the 72d part of the 

| old French Body, Cicero. Didot’s Typographic Points are based on the old French 

| Foot, or Pied-du-roi, which is equal to 12.7862 American inches. 


| GREAT-PRIMER GOTHIC, No. 201. Saas 
| ’ 


BOOKIANDI NEWSPAPER PRINTING TY PES 
Weigh about 40 Pounds to the Square Foot. To set up 40 Pounds, 
| it is necessary to have 60 Pounds in Case. A Provision 
of Extra Types must be made for the Irregularities 
of peculiar Copy which may Run on Sorts. 


DousLE Pica Goruic, No. 201. Oe 


2 lb. 3 oz 


AMERICAN AND BRITISH TYPES 


Are cast g2 hundredths of an inch in height. 
The European Printing Types are of 
Many Different Heights. 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 
61 


ANS 1 
? Lig he f 
\ yt 
iF a 


STYLES 202. 


Nonparemy Gorurc, No. 202. Cates tee 


INSCRIPTION ON THE TOMBSTONE OF WILLIAM BRADFORD, IN TRINITY CHURCHYARD, IN THE CITY OF NEW-YORK. 
Here lies the Body of Mr. WILLIAM BRADFORD, Printer: who Departed this Life May 23, 1752, Aged 92 Years: He was Born in Leicestershire in Old England, in _ 
1660, and came over to America in 1682: He was Printer to this Government for Upwards of 50 Years: and being quite Worn out with Old 
age and....our: He left this Mortal State in...... ly Hopes of a Bleesed Immortality. Here lies also the Body of 
Elizabeth, Wife to the said William Bradford: who Departed this Life June 8, 1731, Aged 68 Years. 


Brevier Goruic, No. 202. Soe ae 


BRADFORD PRINTED IN NEW-YORK, 1693. 
His First Book was a Small Folio of the Laws of the Colony, 
He styles himself ‘‘ Printer to their Majesties.” 

His Printing Office was ‘‘at the Sign of the Bible.” Bradford 
lived with his Son William in Hanover Square. In 1728, he 
owned a Paper Mill at Elizabethtown, New Jersey, 
the First Mill of the kind in that State. 


Lona-primer Gornic, No. 202. “3 ih 19 oa 


JOHN PETER ZENGER, IN THE YEAR 1726 
Printed in Smith-Street, New-York. In 1734, he Removed 
to ‘‘ Broad-Street, near the upper end of the 
Long Bridge.’ In 1733, he Issued the First Number of the 
New-York Weekly Journal. For an attack on the 
Government he was Imprisoned 8 Months. He 
Died August, 1746, and his Widow 


succeeded to his Business. 


Pica Gornic, No. 202. SCA 
RIVINGTON’S NEWSPAPER, THE NEW-YORK GAZETEER, 
First Issued April 22, 1773, from the Printing Office ‘‘fronting Hanover Square.” 


Circulation of 3600 Copies. 


It had a 
James Rivington Died in July, 1802, Aged 78 Years. 


GREAT-PRIMER Goruic, No. 202. eRe 


THE NEW-YORK PACKET AND AMERICAN ADVERTISER, 
Was Printed and Published by Samuel Louden, in Water-Street, 
between the Coffee House and the Old Slip, January, 1776. 


DousLe SMALL-PICA Gorunic, No. 202. LONStees 


THE NEW-YORK GAZETTE, PUBLISHED : 
By William Wyman, made its First Appearance on the 
16th Day of February, in the year 1759. 


DousLeE Enauisu Goruic, No. 202. oe a 


THE NEW-YORK EVENING POST 
Appeared before 1746. H. De Foreest, Printer. 


DouBLeE GREAT-PRIMER Gornic, No. 202. 
ae ‘tb. it 


THE NEW-YORK MERCURY 
By Hugh Caines, Printer. Aug.3, 1/52 


GEORGE BRUCE’S SON 


& CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
62 


| 


I 
} 
j 


STYLE 203. 


PEARL Goruic, No. 203. Be 
CONSEQUENCES OF MONOPLY OR OF SPECIAL PRIVILECES. 
Between the Years 1672 and 1773, only 3 Newspapers were allowed 
to be Published in Paris. During this period, more than 30 
Newspapers in French, Printed Abroad, and Smuggled 
Into France, to the Disgust of the King, who was Lampooned without 
Mercy. When this Monopoly was broken by the French 
Revolution, Paris was flooded with Newspapers. 


Brevier Goruic, No. 203. eee 8 eee 
LE JOURNAL DES SAVANTS. 

The tst Scientific and Critical Journal in Paris 
was Established by Dennis Sallo. The Ist 
Number Appeared on the 5th Day of 
January, 1665. This Journal is 
Flourishing to this Day. 


Pica Goruic, 


Nonparei. Goruic, No. 280. Uae 
THE MUSE HISTORIQUE, OR RHYMINC CAZETTE, 
A Newspaper, entirely in Rhyme, was Founded in Paris, by 
Jacques Loret, in 1650. It Died with Loret in (665. 
Loret was the most beloved of Editors. 

The Market women attended his Funeral in a body, and 
{2 Noblemen were his Pall Bearers. 300 Printers 
threw Flowers on his Crave. 


LONG-PRIMER GorHic, No. 203. aaa ee es 
THE MERCURE CALANT. 

A Journal of Humor and very Stinging 
Personalities, was Founded by 
Donneau de Visé. Was Popular as a 
Paper for 137 Years. 


No. 203. 20 aul 15 


6b 


SIR WILLIAM BERKELEY, COVERNOR OF VIRGINIA, 


Writing in 1670, remarks: ° 


“I thank God there is no Free Schools, 


nor Printing, and | hope we shall not have any for these 


Hundred Years. 


GREAT-PRIMER GOTHIC, 


‘God keep us from both.”’ 


No. 203 25 a and 12 A 


10 lb, 4 oz. 


THE PENNY MACAZINE OF LONDON 


Was Established March 31, 1832, 


1846. 


and Died 


It had a Circulation, at one 


time, of 200,000 Copies. 


DouBLe Pica GOTHIC, , 203: 


ANDREW MARVELL IN 1676. 
Lead when Moulded into Bullets is 


not so Mortal, 


as when it Is 


Founded into Letters. 


GEORGE BRUCE’S SON & CO., 


Typr-FounpErRS, No. 13 CHAMBERS-STREET, NEW-YORK. 


' 
. ~~ 
fh vim NOM ao ssousUD hs 
cash Hhae¥ Ww ; 
array atrecniiy® 


Hilo * el pence 


£ 


OTe | 


STYLE 


240. 


Nonparein Goruic ConpENSED, No. 240. Cee 


DR. VAN DER LINDE’S DEFINITION OR EXPLANATION OF THE PRINCIPLE UNDERLYING THE INVENTION OF PRINTING IS ADMIRABLE, 
The Character of Typography is not Pressing and Printing, but Mobilization, The winged A is its symbol. The elements unchained, the Letters freed from every bond in which the Pen or Chisel of — 
.Calligrapher or Xylographer held them entangled; the Cut Character risen from the Tomb of the solitary Tablet into the substantive life of the Cast Types—that is the Invention of 
Printing.—See the Haarlem Legend, of the Invention of Printing, by Lourens Janszoon Coster, critically examined by Dr, A. Van Der Linde, page 19. 


BREVIER GOTHIC CoNDENSED, No. 240. °3 4°24 


MARCHMONT NEEDHAM, THE PATRIARCH OF JOURNALISTS, 
Was born at Burford in 1620, died, 1678. He was, says D'Israeli, a Man of 
Versatile Talents and more Versatile Politics, a Chemist, a Captain, 

a Violent Royalist, a Virulent Presbyterian, a Schoolmaster, 

a Physician, an Editor, and a Hungry Courtier, 


Pica GorHic CONDENSED, No. 240. Sore eae 


COUNTRY GENTLEMAN’S COURANT, 1685. 


Seeing that Promotion of Trade is a matter 
that ought to be encouraged, the Price 
of Advertisements is Advanced 
to 2 Pence per Line. 


DOUBLE SMALL-PICA GOTHIC CONDENSED, No. 240. 753,422 4 


BLACKWOOD'S MAGAZINE, 
Founded, Edinburgh, April, 1817. 


DouBLE GREAT-PRIMER 


THE DAILY NEWSPAPER OF ROME 
The Acta Diurna, from Ist to 3d Century, 


Four-Linge Pica Goruic 


WILLIAM COBBETT, Journalist, died, June, 1835, 


CANon Goruic ConpENsED, No. 240. ze paaou ie 


CONDENSED, No. 240. 


ORDINARI ZEITTUNGEN OF 1568, 


A Mss. Commercial Paper. 


LONG-PRIMER GOTHIC CONDENSED, No. 240. 49 4,77020 4 


OZ. + 


CASE AND PROPOSALS OF THE FREE JOURNEYMEN 
Printers in and about London, Oct. 23, 1666, Protest 
of the 140 Regular Printers at work in that City, 
against all Foreigners and Interlopers. 


GREAT-PRIMER GOTHIC CONDENSED, No. 240. 753,42? # 


M. BEAUMARCHAIS, IN 1798, 
Paid £3,/00 for the Type- Foundry of 
Baskerville of Birmingham. 


DovusLe ENGiIsH Goruic ConpENSsED, No. 240, 79aanqjo4 


GIAMBATTISTA BODONI, 
Born 1/40, Died Nov. 20,1813 | 


ne i” 


8 lb. 8 


ii ue 


GEORGE BRUCE’S SON & COvee 


T'ypr-FouNpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


STYLE 


241, 


NoNPAREIL Goruic CoNDENSED, No. 241. Beatin a cee 


FOX’S ACTS AND MONUMENTS. FOLIO, LONDON, A. D. 1632. 
... lt pleased God to open to man the Art of Printing, the time whereof was shortly after the Burning of John Hus, 1416, and Hierome. Printing being opened, incontinently 
ministered unto the Church, the Instruments and Tooles of Learning and Knowledge, which were Good Bookes, and Authors which before lay hid and unknowne. 
The Science of Printing being found, immediately followed the Grace of God; which stirred up good Wits aptly to conceive the light of knowledge and 
of judgement; by which light Darkness began to be espied, and Ignorance to be detected, Truth from Error, Religion from Superstition to 
be discerned, as is above more largely discoursed when was touched the Inventing of Printing. Vol. 2, page 57. 


BREVIER GOTHIC CONDENSED, No. 241. °,3,2n480.4 

THE COMMENDATION OF THE ART OF PRINTING, BY JOHN FOX. 

Admirable Example of English of the Time of Queen Elizabeth. 

.. The reason thereof is this: for that hereby Tongues are Knowne, 
Knowledge groweth, ludgement encreaseth, Bookes are dispersed, the 
Scripture is seene, the Doctors be Read, Stories be opened, Times 
compared, Truth discerned, Falshood detected, and with finger pointed, 
and all, as | said, through the benefit of Printing. Acts and Monu- 
ments of John Fox, folio, London, 1632, vol. 1, page 927. 


LONG-PRIMER GOTHIC CONDENSED, No. 241. 49 3,s4,20 4 
WIMPHELING’S EPIGRAM, DATED ANNO DOMINI 1449 
Blessed Gensfleisch! John Gutenberg. 
Through you, Germany reaps glory every where: for you, 
John, supported by Divine Knowledge, Printed, first of all, 
with Letters of Metal. Religion, the Wisdom of Greece, 


the Language of the Latins, is much indebted to you. 


Pica GorHic CONDENSED, No. 241. SO Cyto 
THE: OBSERVATION OF JEHAN MOLINET. 
.| have seen a great multitude of Printed Books made to beguile the poor to study with the 
expenditure of little money. Thanks be to these new fashions, many a Scholar will obtain 
Decrees, Bibles and Codes, without having much to Pay. Jehan Molinet, 1498. 


GREAT-PRIMER GOTHIC CONDENSED, No. 241. ee 


OBSERVATION OF THE AUTHOR OF COLOGNE CHRONICLE, 1499. 
What unspeakable edification is derived from Printed Books! How great the 
advantages to be derived from them who make Printed Books! 


DouBLE SMALL-PICA GOTHIC CONDENSED, No. 241. en ee 


_ THE SONG OF CELTES, WRITTEN BETWEEN 1480 & 1500. 
You wind yourself, 0 broad waved Rhine! to the City of Mayence, 
which, first of all, Printed with Metal Types. 


| DousLeE ENGLISH GOTHIC CONDENSED, No. 241. oan ee 


— T0 JOHN GENSFLEISCH, INVENTOR OF PRINTING. 
— of the highest honors. From tablet put up, 1475. 


DouBLE GREAT-PRIMER GOTHIC CONDENSED, No. 241. Te ae 


GUTENBERG. WHO INVENTED LETTERS 
In Brass Matrices, Wittig s Tablet of 1508. 


GEORGE BRUCE’S SON & CO., Typr-FounDERs, No, 13 CHAMBERS-STREET, NEW YORK. 
65 . 


wren 


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aie t : nities ne ot ser . itvorla ew: hbowide: sae) ft Hoyt ‘to WR onP, nie a aes a re ones 
' 2 hive | frst i ; vf head srw doltw phalwont ton qaieiesd te eplve? bok eineiietadt end soni HD oR obit bowh fa 
Ses ot vite f an wife. 4otdy WW fo oom olf bowdtial estslsminl tind gaiod onlson’t Yo sangiee gat 3 
k vit A ! , ne 
hit’ @ jane hen bee ad of angest wean Iipit otc yt; leeepbal fo ‘. 
os ; Y haiigttol erm rloriw Doe oo elie wie fenie alas renwal ad <7 \ an 
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ur 0 ‘ : {LOR Gel Aly Chepete 4) aif deewqen sie astcod “stherser 314 Inantioghal soa 

fi ; ty bean tery nt anit boned ad ee .bsah a6 aradoot 40) .9noae ae 4 

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isin. 2noitest wan, seedt of sd exist ysaom eifil To s1otibineg 
floum onived tnodtiw .eatod bas asldid zeatoeth! 


ai U. AGHTUA JHT 40 MOITAVAI2a0) 
fii iseip woh ‘eteod betnit matt havingh ef noitsotibe sldsisede 2m 1 
a; ata riob ad ot 2ODSIIS VDE, & 


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STYLE 242. 


BREVIER GOTHIC CONDENSED, No. 242. qitctoa 


THE RECORDS OF HARVARD COLLEGE STATE THAT MR, JOSS. GLOVER GAVE, ABOUT 1638, TO THE COLLEGE A FFONT OF PRINTING LETTERS, AND SOME 
GENTLEMEN OF AMSTERDAM GAVE TOWARDS FURNISHING OF A PRINTING PRESS WITH LETTERS, 49 POUNDS AND 
SOMETHING MORE. GLOVER DIED BEFORE THE PRINTING OFFICE WAS ESTABLISHED, 


TWo-LINE PEARL GoTHIC CONDENSED, No. 242. 110160. | Two-LINE NONPAREIL GOTHIC CONDENSED, No. 242. }iA 


AT A GENERAL COURT HELD AT BOSTON, ON THE 8TH DAY  §. DAY MORTGAGED 27 ACRES OF LAND, UNTO 
OF THE 8TH MONETH, 1641, STEEVEN DAY, BEING THE 
eras | JOHN WHYTE, IN PAYMENT OF 1 COW, CALF 
FIRST THAT SEIT VPON PRINTING, IS GRAUNTED 300 ACRES 
OF LAND, WHERE IT MAY BE CONVENIENT, | AND HEIFER, MORTGAGE DATED THE 
WITHOUT PREJUDICE TO ANY TOWN. | 20TH OF STH MONTH, 1642. 


TWoO-LINE BREVIER GOTHIC CONDENSED, No. 242. 


HEZEKIAH USHER, BOOKSELLER OF BOSTON, IN 1659, PAID GREEN 40 POUNDS © 
“FOR PRINTING THE PSALMS AND MR. PIERSON’S CATTECHISME.” 


PARAGON GOTHIC CONDENSED, No. 242. 


104 Reams of Paper for the New Testament in the INDIAN LANGUAGE 


DovuBLE PicA GorTHic CONDENSED, No. 242. 


Green Printed the INDIAN BIBLE, Cost £234 Ils. Bd. 


DousLe GREAT-PRIMER GOTHIC CONDENSED, No. 242. 


OLD TESTAMENT, at £3 10s. a Sheet 


Four-LINE PicA Goruic ConpENSED, No. 242. 1b 10 0 


Binding 200 BIBLES... £25, 


SIX-LINE PIGA GorHic ConpENSED, No. 242. ; 


We also make an Kight-line Pica and a Twelve-line Pica Gothic Condensed, No. 242, like the above. 


GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 
66 


STYLE 243, 


PEARL GotHic ConDENSED, No. 243. fone 


12 oz, 


THE AMOUNT OF COMPOSITION WHICH WILL BE REQUIRED FOR THE MANUFACTURE OF 1 ROLLER FOR A DOUBLE MEDIUM ADAMS OR CYLINDER PRINTING PRESS, NOT EXCEEDING 38 INCHES IN LENGTH, WILL 
BE ABOUT 12 POUNDS. THE PRICE OF PREPARED COMPOSITION VARIES, ACCORDING TO QUALITY, FROM 25 CENTS TO 60 CENTS PER POUND, 


Nonparem Goruic Conpensep, No. 243. ; 2°, BREVIER GOTHIC CONDENSED, No. 243. ats 
FOR 1 ROLLER, FOR A SUPER ROYAL CYLINDER OR ADAMS PRINTING PRESS, A FOLIO POST CYLINDER, WITH ROLLERS NOT MORE THAN 
NOT EXCEEDING 30 INCHES IN LENGTH, ABOUT 10 POUNDS OF | 23 INCHES LONG, WILL REQUIRE 8 POUNDS OF 
ROLLER COMPOSITION WILL BE REQUIRED. | COMPOSTION FOR EACH ROLLER. 
Two-LinE Prart GoTHIc CONDENSED, No. 243. te 


ROLLER COMPOSITION SHOULD NOT BE OVER COOKED: IF IT IS BOILED 40 OR GO MINUTES, OR MORE, 
THE SYRUP WILL CANDY, AND THE COMPOSITION WILL BE SPOILED. 


Two-Linr NoNPARFIL GOTHIC CONDENSED, No. 243. 2A, 


2 Two-LInE BourRGEOIS GoTHIC CONDENSED, No. 248. 5 hey, 
COMPOSITION ROLLERS WERE FIRST USED 
IN THE CITY OF NEW-YORK, IN 1829, IN COMPOSITION ROLLERS FIRST 


THE OFFICE OF JONATHAN SEYMOUR. USED IN PARIS, IN 1819. 


Two-LinE Pica GorHic CONDENSED, No. 243. Bin aie 


LEFEVRE & DESEILLE, OF PARIS, 1853, MADE 
ROLLERS OF GUTTA PERCHA AND GLUE. 


['Wo-LINE GREAT-PRIMER CONDENSED, No. 243. Sik 


A ROLLER, ONLY 24 HOURS OLD, IS 
NOT YET FIT FOR USE. 


Four-LINE PicA CONDENSED, No. 243. 


INDIA RUBBER ROLLERS 
BANDONED, 1894. 


| GEORGE BRUCE’S SON & CO., TypE-FounpERS, No 13 CHAMBERS-STREET, NEW-YORK, 
67 


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STYLE 244, 


NONPAREIL GOTHIC CONDENSED, No. 244. pers 
THE FRENCH-ENGLISH DICTIONARY OF GEORGE BELLOWS, OF GLOUCESTER, ENGLAND. A MINIATURE BOOK, ABOUT THE SIZE OF 48M0. MEDIUM WAS PUBLISHED IN 1865. IT IS COMPOSED IN TYPES 
ON BRILLIANT BODY, ABOUT 22 LINES TO THE INCH. DISPLAY IS MADE WITH CAPITALS OF GOTHIC FACE ON SAME BODY. THE BORDER AND TABLE RULES ARE 
PRINTED IN CARMINE, WITH FAULTLESS REGISTER, IT 1S AN ADMIRABLE PIECE OF COMPOSITION AND PRESS WORK, 


| 


Brevierk Goruic ConpENSED, No. 244. oto Two-LInE PEARL GoTrHic ConDENSED, No. 244. , ,2%4), 
SCHILLER, PRINTED IN THE FORM OF ROYAL 8VO. BY COTTA, OF THE WORKS OF CERVANTES. IN 12 VOLUMES. 8VO. 
STUTTGARDT, IN THE YEAR 1859-62, 1S AN EXQUISITE SPECIMEN OF GERMAN 1867, AND THE POEMS OF ALFONSO ONGENO, 8V0. 1863, ARE 
TYPOGRAPHY. !T JS REPLETE WITH ENGRAVINGS ON WOOD, 
EXAMPLES OF THE BEST TYPOGRAPHY OF SPAIN. 


PHOTOGRAPHS, ORNAMENTS IN GOLD, SILVER AND 
DELICATE TINTS IN THE PUREST TASTE, PRINTED BY RIVADENEYRA, OF MADRID. 


Two-LIne NoNPAREIL GOTHIC CONDENSED, No. 244. ob 


A MISSAL, IN FOLIO, RED AND BLACK, FROM THE NATIONAL PRINTING OFFICE AT LISBON, WAS MUCH. 
ADMIRED AT THE PARIS EXPOSITION OF 1867. 


Two-LiIne Brevier Gornic ConpENSED, No. 244. 31h 


LES ARDENNES, BY VICTOR JOLY, A SUMPTUOUS FOLIO IN 2 VOLUMES, WAS PRINTED. 
BY M. VAN BUGGENHOUT, OF BRUSSELS, IN 1854, | 


Two-LInE LONG-PRIMER GOTHIC CONDENSE pb, No. 244. Bik dio 


RUSSIAN PLAYING CARDS, OF MARVELLOUS BEAUTY, WERE ADMIRED 
AT THE PARIS EXPOSITION OF 1867, 


Two-LINE Pica Gornic CoNDENSED, No. 244. 


BRITISH BIBLE SOCIETY, LONDON, HAS PRINTED 
60,000,000 BIBLES... COST £5,948,610, 


TWo-LINE GREAT-PRIMER GoTruic ConpR NSED, No. 244. barat 


THE TIPOGRAFIA POLIGLOTTA ve : 
PROPAGANDA WAS FOUNDED IN 1626 


GEORGE BRUCE’S SON & CO.) TyPn: Founprrs, No. 13 CHAMBERS- STREET, NEW-YORK, 
68 


2 
ke 
i} 
Ih 
, 


STYLES 620 AND 621, 


Pica Gornic Extra ConpEnsep, No. 620. °9 4,120.4 GREAT-PRIMER GoTHIc Ex. Conpensep, No. 620, 25,3412 4 
FOUR FRENCH BOOKS of Irreproachable Typography: The HENRIADE, THE BIRD, by Michelet, an Octavo of 1 volume, with 
Printed by Firmin-Didot, 1819; the DANTE, by Lahure, 1861; the GOSPELS, by Illustrations hy Eiacomelli Printed by Claye, af Paris, 1887, 

Imperial Printing Office, 1862; the BIBLE of Doré, by Mame, of Tours, 1866, 


is a Fine Specimen of French Wood-cut Presswork, 


DousLe Pica Goruic ExrRA ConpENSED, No. 620. Bae 


THE WORKS OF JOSEPH LOUIS LAGRANGE, A FRENCH MATHEMATICIAN, 
Printed by Gauthier-Villars, in the year of 1867, unequalled for Skillful Composition, 7 volumes, folio 


DoUBLE GREAT-PRIMER GOTHIC ExtRA CONDENSED, No. 620. 


THE CELEBRATED PRINCE OF WALES BIBLE, 
Was Printed by Mackenzie, of Glasgow, Scotland, in the year of 186, 


Canon Goruic ExrrRA CONDENSED, No. 620. 


HAUTE-COMBE, Bv, by Fontana, of Tun, lly, 164 


Peart Goruic ConpENseD Harr Line, No. 621. 3,4 NONPAREIL GOTHIC CONDENSED Harr Ling, No. 621. %°,' 
EVELYN’S NOTICE OF THE INVENTION OF MEZZOTINTO ENGRAVING, WENCESLAUS HOLLAR, OF PRAGUE, BORN 1607, DIED 1677, WAS AN EMINENT 
TRIS AFTERNOON, MARCH 13, 1661, PRINGE RUPERT SHOWED ME THE NEW WAY OF GRAVING CALLED COPPER-PLATE ENGRAVER, HE USED TO WORK FOR LONDON PUBLISHERS AT THE RATE 


MEZZOTINTO, WHICH, AFTERWARD, BY HIS PERMISSION, | PUBLISHED IN MY HISTORY OF OF 4 PENCE AN HOUR, HE MADE 240 PRINTS OF VALUE, BUT DIED IN POVERTY. 
CHALCOGRAPHY....1T IS SUPPOSEO THAT PRINGE RUPERT RECEIVED HIS 


SUGGESTION FROM SEEING A SOLDIER POLISH A RUSTY SWORD, 


Brevien Gornic ConpENSED Harr Line, No. 621. 1 ies. Two-LINE Peart Goruic Conn. Harr Lane, No. 621. 11793 
| __ INTRODUCTION OF COPPER-PLATE PRINTING IN ENGLAND, ANOTHER WRITER GIVES AN EARLIER DATE. 
\CCORDING TO JOHN BAGFORD, THE COPPER-PLATE PRESS WAS FIRST 

BROUGHT INTO ENGLAND BY JOHN SPEED, WHO PROGURED aI See FEES RET chea a 


ONE FROM ANTWERP IN THE YEAR 1610. 


ot ‘ 
Two-LInp NoNPAREIL Gornic ConpENSED Harr Ling, No. 621. 


)OPPER-PLATE PRINTS WERE FIRST SEEN IN ENGLAND IN THE ° BYRTH OF MANKIND, " WHICH WAS 
PUBLISHED BY THOMAS RAYNALD, OF LONDON, IN 1540. ENGRAVER IS UNKNOWN, 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No, 13 CHamBers-Srreer, NEW-YORK, 
69 


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STYLE 250. 


oS hal Brevier GorHic ExTENDED, No. 250.  °3i,"to'n.* 


NonPAREIL Goruic ExrenpEp, No. 250. 
THE NEW ARABIC FIGURES 


THE SYSTEM OF ARITHMETICAL NOTATION 


By 9 figures and 0 was known and used in Hindostan Were Introduced in Spain by the Moors about 
in 6th Century of Christian era. Was Introduced the year 950; in France, by Gerbert, 991; 
in Arabia about the Year goo. VWhen adopted | ara England, 1253: Their advantages 

in Europe, these figures were known | are immediately recognized. 


everywhere as Arabic Figures. 


Pica Goruic ExTENDED, No. 250. 73 4,"%o'R." 


he ES MieINii ZS eee 


LONG-PRIMER GoTHic ExrENDED, No. 250. 73477. 


ROMAN SMALL CAPITALS 4 : 
First Made by Aldus Manutius, in the Or Bible of 42 Lines, of 1455, 


year 1501. Were used as Initials Puncuated with the Period, 
in Proper Names and Lines of Poetry. | Colon and Hyphen. 


GREAT-PRIMER GOTHIC EXTENDED, No. 250. Bratton 


THE MENTZ PSALTER OF 1457, 
Was Printed by John Fust and Peter Schceffer 
Contains Commas of the Modern Form. 


DousLE PicA Goruic ExTeNDED, No. 250. 10 :a‘and 10 A 


SEMI-COLONS WERE USED 


By Printers between 1455 & 1501, 
As Signs of Abbreviation. 


DouBLE GREAT-PRIMER GOTHIC ExrENDED, No. 250. Fa tales 


GEOFFREY TORY, 


Made Rules for Use of 
Accents, Paris, 1528. 


hes Cie E a 
CANON Goruic Exrenpep, No. 250. Binnhe ae 


ABBREVIATIONS 
Discarded, 1540. 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. a 
70 a 


STYLES 260 AND 261. 


Brevier Goruic ConpDENSED Ivraic, No. 260. ACER cs 
THE PRICES OF EARLY PRINTED BOOKS. 


A small Folio, Printed by William Caxton, was sold by him 
for 6s. 8d. A price equal to that of a Quarter of Wheat. 
Compared with old Manuscript Books the price was 
cheap; compared with modern Books, excessive. 


Pica Goruie Conpensep Irauic, No. 260, #154 
TONSON, THE PUBLISHER, 
Was indignant, because Dryden, the Poet, 
charged 50 Guineas for 1,446 lines. 
He expected 1,578 lines for 40 Guineas. 


LONG-PRIMER GOTHIC CONDENSED I'ranic, No. 260. 402304204 


ACCOUNTS OF ELIZABETH OF YORK, 


Show that, in 1505, 20d. were Paid for a Primer 
and a Psalter. This sum was equal to 1 week's 
wages of a Farm Laborer of that period. 


CoLUuMBIAN GoTuic ConpENSED Iranic, No. 260, 2°74 15 4 


POPE HAD ONE GUINEA 
A Volume for his 6 quarto volumes 
of the Iliad. Pope's Shakspeare 
was also 6 Guineas for 6 volumes. 


PARAGON GOTHIC CONDENSED Iranic, No. 260. 


DAVID HUME’S HISTORY OF ENGLAND. 
The First Volume was issued in 1754, Millar, the Publisher, said 
That only 45 copies were ee me the First Year. 


Four-LInE Pica Goruie CONDENSED Irauic, No. 261. j 9 Sh, 


BUT ONE DAILY PAPER IN 
LONDON IN 1709 


S1ix-LINE PrcA Goruic ConpENSED IrAuic, No. 261. 


SEMI-WEEKLY 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 


Tal 


a 
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“tat a Aye 


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Lit £.. “ASR LY.LY 

por! 6101.08 20¢ 


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STYLE 300. 


Brevier AnriquE, No. 300. Seraph LONG-PRIMER ANTIQUE, No. 300.  *°'i"S tn“ 
RICHARD DE BURY, BISHOP OF DURHAM, | BOOKS ARE TEACHERS 


| Whose Instructions are unaccompanied 

| with Blows or harsh Words; who de- 

mand neither Food nor Wages; you visit 

them, they are alert; if you want them, 

they secrete not themselves...nor ridiculé 

your ignorance be it ever so gross. Phitg 
biblon of 1599. 


Said, in year 13844: As it is necessary for a State to 
provide Military Arms, and prepare plentiful Stores of 
provisions for Soldiers who are about to fight, so it 
is evidently worth the labor of the Church Militant 
to fortify itself against the attacks of Pagans and 
Heritics with a multitude of sound Books. 


Pica AntTIQUE, No. 300. 80 and 15 A 


RICHARD AUNGERVILLE, BORN | 1287) DIED MWistoreAy. 
Let there be a mature decorum in Opening and Closing of Volumes, that they 
may neither be Unclasped with Precipitous Haste, nor Thrown Aside 
after Inspection, without being duly Closed. 


GREAT-PRIMER ANTIQUE, No. 300. eee: 


PIERS” BAU DUMIN teircamiee( ©! 
Was Paid 20 Shillings for Binding 2 Books, and 64 
Shillings for 4 Books. 20s. would then buy an Ox. 


110A 


Dovusie Pica AnTIQUE, No. 300. Sa apie 


BAU DUNS eiSisee 


Specifies 6 yards of Velvet, 6 yards of 
Silk... Lace, Tassels, Clasps, Nails. 


DOUBLE GREAT-PRIMER ANTIQUE, No. 300. eae 


THOMAS, A LIMNER, 
Was paid 5Os. 2d. for a Book” 
he had Made in 1467. 


Canon ANTIQUE, No. 300. gli ig til 


CHARLES V. 137 
Owned 900 Books. 


GEORGE BRUCH’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
72 


STYLE 301. 


Acars, Antriqur, No. 301. ey eee NonPAREIL ANTIQUE, No. 301. ae a 
| THE FIRST AMERICAN PRINTING OFFICE EARLY NEW ENGLAND BOOKS. 
Was Established in the City of Mexico, in the year 1555, and was provided The first dated Books or Pamphlets Printed in New England 


with a full Assortment of Types. The First Book Printed in the 

| New World was done in this Office. It was called Vocabulario en Lengua 

| Castellana y Mexicana. The Author of the Book was the 
Missionary Alfonso de Molina. 


were The Freeman’s Call, and the Almanac for 
New England. Both works were Printed in Cambridge, in the 
Year 1639. But few copies have been preserved, and 
they are highly valued by their owners. 


Brevirr ANTIQUE, No. 301. Aa Ps 5 


LoNG-PrIMER ANTIQUE, No. 301. 498,420 4 
EARLY REGULATIONS FOR THE TRADE. A 
\In May, 1571, the Authorities of Paris undertook to WARNING TO PUBLISHERS. 


Seeriste the Trade. Article 6G, of the It sha ate ice a peep ne year 1571, that 
Ordinance passed that day, prohibits Pressmen and € syndics oO at City should be fully 


Compositors from Free Indulgence in Holidays, Authorized to Seize and Confiscate all Books 
or from Assembling for a Strike. | which were Printed on Bad Paper. 
Pica ANTIQUE, No. 301. Ae Greav-PRIMER AnTIQuE, No. 301; *s=4124 


APPRENTICESHIP REQUIRED. SWORDS. 


 Decreed in France, 1571, . 
That no Printer or Bookseller should A French Ordinance, 1971, 


be Licensed unless he had Served Authorizes Printers to 
Apprenticeship of 8 years. Carry Swords. 
DousLE SMALL-PicA ANTIQUE, No. 3801. SHAG Wre Pe 


ARISTOTLE purchased the Books of 
fee ppus at his death, and Paid for them 
8 Talents, or about $3000. 


DousLe EnauisH ANTIQUE, No. 3801. 20 aed ore 


PLATO gave 100 Mine, 
For 3 Small Books by Philolalus, 


} 


the Pythagorean. 


DouBLr GREAT-PRIMER ANTIQUE, No. 301. 24 Ih. 2 ox 


A QUIRE of Paper, in 
573. to make “4 bokes of 
Salmes, cost 4d. 


GEORGE BRUCE'S SON & CO., Typr-FounpDERS, No. 13 CHAMBERS-StREET, NEW-YORK. 
73 


* 


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PRARL ANTIQUE, No. 302. pone O le Nonparrit ANTIQUE, No. 302. eos ke ae 
ITALIC TYPES WERE FIRST MADE BY ALDUS MANUTIUS, ROMAN TYPES WITH LOWER-CASE, 
At Venice, about the year 1501, for the exclusive use of which in Italy, he Modeled after the Cursive Writing of the 12th Century, was first 
Obtained a Brief from Alexander VI. This Neat Letter was Reduced to Symmetry, and made a Text Type in 1471, by 


Modeled after the Hand-writing of Petrarch. : . : 
g Nicholas Jenson, a Famous Printer of Venice. 


BrevierR ANTIQUE, No. 302. 68 Sian 30 A Lone-Primer ANTIQUE, No. 302. 4. 10mem 
THE FIRST POLYGLOTT BIBLE HEBREW TYPE WITH POINTS, 
Was Published at Genoa in 1516, under the Supervision of Were First Used in an Edition of the Hebrew 
Peter Paul Porrus. It tained Heb Arabi . ; 5 
Cee nek eas rect nstmierad eee iS ee rar) Scriptures Printed at Soncino, 1488. 


Chaldaic, Greek and Latin. 


GREAT-PRIMER ANTIQUE, No. 302. 25 5 and 
=a 


Pica Antiqun, No. 302. Ue 
THE COMPLUTENSIAN 38 HUNDRED COPIES, 
Polyglott of Cardinal Ximenes, was | A Large Edition of any Book 


Printed by Arnao Guillen de Brocar In the X Vth. Century. 
at Alcala, Spain. 1502-1514. | 


Dousie’ EnGuisnh Anriqun, No. 302. 7° sea 


ULRIC GERING, MUSIC Printed 


First Printer in France From Metal Types 
40 years in Paris. At Mentz, 1490. 


DouBLE Greatr-PrimerR ANTIQUE, No. 302. Qe EN NSS 1 


20 Ih. 8 0% 


YRARLY ALMANACS. ‘First 
Appeared in the 16th va 


Four-Lint PicA ANTIQUE, No. 302. 


20 Ih 8 oz 


NINE-LINE Pica AnriquE, No. 302. ioe 


SEVEN-LINE PICA ANTIQUE, No. 302. 56 lk. 8 es 7 qQ 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK, 


74. 


STYLE 308. 


Nonparemt Doric, No. 303. SOT seul GOrs Brevier Doric, No. 303. eoannataleon 
STEPHEN DAYE, FIRST PRINTER IN THE COLONIES, THE AUTHORIZED VULGATE BIBLE, 

Was born in England, 1611, died in Cambridge, Mass., 1688. Authorized by the Council of Trent, in 1546, and 
His First Publication was the Freeman’s Oath; his Printed in 1590, in 3 Volumes, by the Special 
First book, the Bay Psalm Book of 1640. Order, and under the Supervision of 
In 1641, the General Court of Massachusetts granted him, Pope Sixtus V, and Famous for its Errors, has been 
for Services Rendered, 300 Acres of Land. In 1649 he Sold for $240 to $300. It was Superseded by 
Relinquished his Business to Samuel Green. Edition of Clement V, in 1592. 

Lone-PRimER Doric, No. 303. SIRT LS 


COVERDALE’S GREAT BIBLE WAS PRINTED AT ZURICH. 
A Fragment of this Famous Book was Offered for Sale in 183%, at the Price of 
£18, 18s. A Copy Entirely Perfect is not known to be in existence. 


Pica Doric, No. 303. 30 a and 15 A 


TYNDAL’S FAMOUS NEW TESTAMENT 
Was Printed at Worms, in the year 1523. It contains 353 
Leaves, besides the Epistle to the Reader, and the 
| Errata. The Initial Letters were Illuminated. 


GREAT-PRmER Doric, No. 303. spanner 


A COPY OF THE FIRST EDITION 
Of this New Testament, in English, dated 1526, 
| Was Sold in 1776, for the Comparatively 
Small Sum of 20 Guineas. 


DousLE Pica Doric, No. 303. nee 


TWO SPURIOUS Editions, 
5000 Copies each, of this Book, 
Were Printed in Holland. 


DouBLE GREAT-PRIMER Doric, No. 303. 


‘TYNDALL’S EDITION 
Was Sold for 3 Shillings 


GEORGE BRUCE’S SON & CO., Type-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 
75 


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. [VIBES 2@AW GSaAgio§h TAAAYD S2atTAGEaVOO 
a ee. ae ‘t ot af ‘oh borshO eow Mook avomst aid? to Susur es £ 
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STYLES 304, 305, 306 AND 307. 


Nonparbit AnTiquE, No. 304. He ty he Brevier ANTIQUE, No. 304. 60 9 and 30 A 
WILLIAM NICHOLSON, OF LONDON, in 1790, Aso on BourGrors Bopy. aserear 
Received the first Patent for a Cylinder Printing Machine. The 
Press was never used, perhaps never perfected; but the Y D. NAPIER, : or LONDON, IN 1823, 
Claims of the Patent covered the most indispensable features of So improved the Cylinder Machines previously in use, 
Printing by Cylinder Pressure. That for many years after, both in Europe and 
In America, the Cylinder Newspaper Machines were 
Lone-Prmmer ANTIQUE, No. 304. 0 ne ee known as Nay-Peer Presses. 
ALSO ON SMALL-P1cA Bopy. SOlarand 200A 
NAPIER’S IMPROVEMENTS Pica ANTIQUE, No. 304. Oe outa 
Were: Greater Simplicity in Construction; MOSES S. BEACH, 
mnie ara Bea ates AR EIOST New-York, Received an English 
mprove eet Grippers; 5 
; atent in 1842 for 
The Double Cylinder; Accurate Register ; P P ¢ hich D a are 
Printing on both Sides. His Patents ress in whic ampene aper 
are dated 1825 and 1830. was Fed from a Roll. 


60 a and 30 A 
3 lb. 


Nonpargein ANTIQUE, No. 305. 
oh 


WILLIAM NICHOLSON, OF LONDON, AUTHOR, INVENTOR AND PATENT-AGENT, CLAIMED THE USE OF ROLLERS 
For Distributing Ink, of Bevelled Type and Grooved Type, with Methods of Fastening them on a Curved Surface. He also Claimed as his Exclusive 
Invention, the Entire Principle of Printing by Cylindrical Pressure, in his Patent of 1790. 


Nonparnin ANTIQUE, No. 306. SOhacand so 3REVIER ANTIQUE, No. 306. SO iniend eS 
FREDERIC KONIG, A PRINTER OF SAXONY, KONIG’S PRESS WAS SET TO WORK 
After repeated failures in attempts to Increase the Performance of the Hand In April, 1811, and then Printed 3000 Copies of one of the 
9 7 
; with t id of . BEN d TAYLOR of don, “ 
Bredepwitane Ald 2 eee es Ss eae Signatures of a Book. On the 28th of November, 1814, 


and ANDREW BAUER of Germany, Produced the First 


PractiaabletGy inderisecsacintasia: The London Times was Printed by this Machine, which was 


Employed in that Office for many years. 


Lona-PrimerR Antriqur, No. 306. AO a and! 20 A Pica ANTIQUE, No. 306. 2O ies 8 Ol 
FRED. KONIG AND ANDREW BAUER BRIGHTLY AND DONKIN, 
Returned to Germany in 1817, and Established a of Norwich, England, 
Famous Manufactory of Printing Presses Received a Patent, Nov. 23, 1813, for a 


AT OBERZELL. ; : 
They made Drum Cylinders for Job Work, Double Rotary Machine, said to be Pree 


Cylinders and Perfecting Presses for News- From all Reciprocating Movements. 
papers. Konig died in 1833. The Press was never used. 


Genta Prue ANTIQUE, No. 306. So Ouies aes 
AUGUSTUS APPLEGATH, of London, in 1853, 
Took out a Patent for a Newspaper Printing Machine of 
Four Small Impression Cylinders. 


Paragon AnriquE, No. 307. Se Toe 


Aso oN GrEAT-PRImER Bopy. ean 


APPLEGATH claimed that this Press would Print 
at the Rate of 12,000 Perfect Sheets per Hour. 


GEORGE BRUCE’S SON & CO., TYPE-FOUNDERS, No. 13 CHamBers-StrEET, NEW-YORK. 


76 


STYLE 307. 


Dovusie Pica Anriqur, No. 307. gear g sate 
ALSO ON DoUBLE SMALL-PICGA Bopy. Sere 


HENRY STEPHENS II. said, 
In 1571, that a False Economy was more 
Scandalous in the T'ypographic 
Art than in any other. 


DouBLeE PARAGON ANTIQUE, No. 307. ek o 
Aso ON DOUBLE GREAT-PRIMER Bopy. 


PAPER MILLS 
In 17'75...Three Miills 


In Massachusetts. 


Four-LInE Pica ANTIQUE, No. 307. 


PAPER MILL 
hode Island. 


Srx-LInE Pica ANTIQUE, No. 307. 


BOSTON 
ul 1730. 


We also make a Ten-line Pica Antique, No. 307, like the above. 


GEORGE BRUCE’S SON & CO., TypE-Founpers, No. 13 CHamBers-StrEET, NEW-YORK 
cht 


AVS: mre S WH MSH . 
‘Zs ted. IVeE 

BIC olsbrtqo8 | 

eA ms 


. stem e MEY <= hes 


“S 


wae. ; ian re 
WA cella at A shy ig yal ha 


STYLE 308. 


NonPAREIL ITALIAN ANTIQUE, No. 308. %34"4°? 4 | BReEVIER [raALIAN ANTIQUE, No. 308. °?23,°%3°0 * 
COMPOSITION ROLLERS FOR SUMMER USE, COMPOSITION ROLLERS FOR WINTER USE, 
Are made of a mixture of the Best Glue and Refined Syrup, | or for extreme cold weather, are made in 
in the proportions of 101b. Glue to 5 quarts of Syrup. | The proportions of 5 pounds of Glue to 5 quarts 


Soften, but not over soak, the Glue with water; then melt it; 
then add the Syrup, and let the mixture boil 
briskly for about 30 minutes. 


of Syrup. This makes a tender roller, 
Which may be stiffened by adding 2 oz. of Tar. 


KSsEN TE 
Feb. 13, 1872. 
S or 


LONG-PRIMER ITALIAN ANTIQUE, No. 808. sae 
INGREDIENTS 


Which have been tried for Strengthening 
or Improving Rollers, but which are of 


Pica IranrAn Anrioun, No. 308. *tsttee 


Two TO FOUR OUNCES 
India Rubber Shavings 


doubtful utility: 6 to 12 ounces | Saturated and stirred, for LO or 
of thoroughly macerated 12 days in 3 to 5 pints of 
Paper Pulp made from Hard-stock Paper; Coal Tar Naphtha or Benzine; 
GREAT-PRIMER ITALIAN ANTIQUE, No. 308. eoand wae 


TWO TO THREE OUNCES Calcined Magnesia; 
bad for ink; 1 to 3 oz. Venice Turpentine; 
lL to Goz. of Burgundy Pitch; 1 to 2 oz. of Rosin; 


DousLe Picd Iranian ANTIQUE, No. 308. ioe a 


ONE TO TWO PINTS of Castor Oil; 
10 seruples Citric Acid; 
2 to 6 oz. of White Soap Shavings. 


DouBLE GREAT-PRIMER ITALIAN ANTIQUE, No. 308. gb xaiand S 


GLYCERINE ROLLERS 
Patented, 1864, 1865. 


Canon IraniAN ANTIQUE, No. 308. Dita 


EVERY PRESS 
2 sets of Rollers. 


GEORGE BRUCE’S SON & CO., Typn-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 
78 


STYLE 309. 


PicA ANTIQUE PotnTED, No. 309. 


THE BRITISH MUSEUM AT LONDON 
Contains 30,000 Pamphlets and Tracts, forming 2,000 Vols, 
mostly of a Theological and Political Character, all 
of which were Published between 
1640 and 1660. In 1724, outside of London, there were only 
Two Counties which had Printing Offices. 


GREAT-PRIMER ANTIQUE PornrTED, No. 309. 


PROHIBITION OF NEWS. 
In 16860 English Judges in council assembled, 
declared that it was Illegal to Print or 
to Publish any News Books, or 
Pamphlets of News. 


DousBLE SMALL-PICA ANTIQUE PoInTED, No. 309. 


| ENGLISH NEWSPAPERS. 

In 1789, all English Newspapers paid a 

Stamp Duty of only 2 pence. The 
Papers were sold for 4d. 


DousBLE EnagrisH ANTIQUE PornTED, No. 309. 


HIGH STAMP DUTIES. 

1797, the Stamp Duty on English 

Newspapers was 3 pence half- 
Seah ila dal sold for 6d. 


GEORGE BRUCE’S SON & CO., Typx-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
79 


na. NEITTAa war : 
ot rola. crrss E. 000.08" 2 nh , 
soigoldad tT se to vliec >a ? 


— 


saw doldw Zo - = E- 


c m STE al asl br 


jidwr eel tine D owt” 


Ixt Yt 
pod ile Act. 
hese caret 


iow args 5, * 


\@ esvt 258g 


a Lie} 


i ee 


me OLIGO OSU. 


el 
4 


hele = 
ha 
ovina.’ : ‘. 
7 . ’ 
gate é " yr 2 »¥ - * oF ert = ra Mere 
) I , >. ss 4 ’ ] ; ar 
% ‘ ; bed mt " . ' 4 i , . 7 
oe a i -_ A 4 
- iJ a rr ¢ |-s { rr ¢ 6 
>. “< ize ti. ikea = hu Denctthe then 
? ‘ ae 


STYLE 320. 


LONG-PRIMER CLARENDON ConDENSED, No. 320. “3 i,"toe.” PrcA CLARENDON ConDENSED, No. 820. *{4°3%4 | 
RAR ON THIN PLATES OF COPPER ENGRAVING ON BLOCKS OF WOOD, | 
Is said to have been invented by Tomasso Finiguerra, a gold- Was practised in Italy during the 13th C entur” 


smith of Florence, about 1440, but prints by this process 


were then made in Germany. First dated print 1461. Blocks were used to print Textile Fabrics. ' 


CoLUMBIAN CLARENDON CoNDENSED, No. 320. *3i,"2u." GFREAT-PRIMER CLARENDON CONDENSED, No. 320. “G'v"} te 
MEZZOTINTO ENGRAVING, AQUA. TINTA EN GRAVING, 
Said to be invented by Col. de Siegen, 1643, | Was introduced by St. Non of France 
Improved by Prince Rupert in 1648. during the year 1662. 
DoUBLE SMALL-PIGCA CLARENDON CONDENSED, No. 320. 


ENGRAVING AND TRANSFER ON SOFT STEEL, | 
Is the invention of Perkins and Heath, of Philadelphia, oe 


DouBLE ENGLISH CLARENDON CONDEN , No. 320. 


CHIARO-OSCURO OR MONOCHROME PRINTS, 
Invented by Ugo de Carpa, Italy, in the 16th Centar 


Dous NDON CONDE , No. 320. 


LITHOGRAPHY OR STONE PRINTING. 
Is the Invention of Senefelder, Munich, 17 06 


MERIDIAN CLARENDON CONDENSED, No. 320. 


PHOTOGRAPHY, _— 
By Niépce, 1814, and Daguerre 1824 


, No. 320. q 


— PHOTO- LITHOGRAPHY, : 
M. Lemercier, of France, 1859. 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
80 


STYLE 321. 


NONPAREIL ANTIQUE CONDENSED, No. 321. %1ing i?“ BREVIER ANTIQUE CONDENSED, No. 321. 9,52 204 
NOUVELLE PRESSE A GRANDE VITESSE, DE MARINONI. THE BULLOCK NEWSPAPER WEB PRESS. 
H, Marinoni, of Paris, has Invented a Printing Machine, which he claims Prints William Bullock, of Philadelphia Inventor of this Machine, died 1867 
) i] . 


Perfect on Both Sides, 18,000 Copies per Hour. In September, 1868, it 
was used in Printing Le Petit Journal of Paris, 


This is the First Press which successfully Printed Perfect on 
Both Sides from an Endless Roll of Dampened Paper. 


LONG-PRIMER ANTIQUE CONDENSED, No. 321. *33,24204 PicA ANTIQUE CONDENSED, No. 321. ARTES 
MITCHEL'S TYPE-SETTING MACHINE, David Bruce, Jr. Patented March 17th, 1838, 


William H. Mitchel, of New-York, Patented in 1853, 1854 the Model of all American and most 


57, a Machine which h in use 19 
and 18 he ern Seas he ears European TYPE-CASTING MACHINES, 


DouUBLE SMALL-PicA ANTIQUE CONDENSED, No. 321, 7° “4324 


GREAT-PRIMER ANTIQUE CONDENSED, No. ‘3821. 753224 | 


THE HYDROSTATIC PRESS © PAPER-RULING MACHINE. 


Was Patented by J. Bramah, 1785, Patented by D. Brewer, of 
Used by Printers in 1829. Pennsylvania, igs 22, 1796. 


ma LOA 


DouBLE ENGLISH ANTIQUE CONDENSED, No. 321. 


IMPROVEMENT IN COMPOSITION ROLLERS. 
Patented by Lewis Francis, N.Y., June, 1864 and 1869. 


DovusLE GREAT-PRIMER ANTIQUE CONDENSED, No. 321. RE 


WASHINGTON PRESS, by 8. Rust, May. 102. 


CANON ANTIQUE CONDENSED, No. 321. 


NEW MUSIC TYPES, Geo. Bruce, 1830, 


Four-LInE PicA ANTIQUE CONDENSED, No. 321. Pees 


AIR. BLAST, George Bruce, 1854, 


EIGHT-LINE PicA ANTIQUE CONDENSED, No. 321. 


| Pive-tine Pica ANTIQUE CONDENSED, No. 321. 243", nt, UT. i ‘4 r 


GEORGE BRUCE’S SON & CO., Typr-FounDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
81 


a 


rab 9 


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SL ariere 


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: 1 5 ‘4 = % Were ht } OATES a4 " iw wadey 4 rebee 
ae » uc a 7 1. Aye J : : pdiea’ tec brick wb bite ae 


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STYLES 322 AND 630. 


NONPAREIL CLARENDON, No. 322. ae 


JOHN DAY, THE FIRST ENGLISH PRINTER WHO ACQUIRED AND MERITED A CONTINENTAL REPUTATION, 
Born 1522, died 1584, is equally Renowned as a Type-founder and Publisher, He cut New Fonts of Roman, Italic, Saxon and Gr eek, He Printed and Published Fox's Book of | 
Martyrs and Tyndall's Bible of 1549, and many Classic Works, in all 245 Books, many o of them containing Engravings on Wood. He was the first English Printer : 
who preferred Roman to Black Letter, wisely saying that Black was not fit for a Classic Book, He had 2 Wives and 26 Children, 


BREVIER CLARENDON, No. 322. SOje and 80:2 


THE RUGGLES PRINTING ENGINE OR JOB PRESS, 

S. P. RUGGLES, of Boston, Received a Patent, Nov. 10th, 1840, for a Small 
J ob Printing Press of Novel Design. In this Press the position of Bed 
and Platen were Reversed; the Platen below and the 
Bed above, with the Face of the Type Pointing Downward. It was a Quick 
Press, but objectionable for its Reversion of the Form, and its 

Liability to Drop Types on the Platen, 


i = T ts 30 a and 15 A 
PicA CLARENDON, No. 322. AGG fos 


IMPROVED HAND PRESSES. 

A. RAMAGE, of Philadelphia, Received a Patent, 
May, 1818, for a Press which was popular 
for many years in the Middle States. 
Superseded by the Simpler and the more Powerful 
Presses of Samuel Rust and Peter Smith. 


LonG-PrRiMER CLARENDON, No. 3822. 40 ne ee 
THE TYPE-REVOLVING PRINTING MACHINE, 

Or the Rotary Press, as it is oftenest called, is the Invention of 
RICHARD M. HOE. It was Patented in 1847. It was first 
used on the Philadelphia Ledger in 1847, and on the 
London Times in 1858. As a fast Newspaper Press it had no 
Rival or Superior for many years. 


GREAT-PRIMER CLARENDON, No. 322. sia 0k 
REGISTERING PRINTING PRESS, — 
S, NEWTON, New-York, Feb. 28, 1833 

Patented a Double-Cylinder Press. 
A Cylindrical Press was Patented by 
W. C. Williams, in 1829. | 


DouBLe SMALL-PIcA CLARENDON, No. 322. 


THE ADAMS POWER PRINTING PRESS | 
Was Patented by ISAAC ADAMS, of Boston, Massachusetts, | 
October 4, 1830, and March 2, 1836. 


DouBLE ENGLISH CLARENDON, No. 322. 


IMPROVED HAND-PRINTING PRESS. 
Was Patented by SETH ADAMS, of Boston, on 
September 27th, A D. (1844. 


Two-LINE BourRGEOIS SKELE ron, No. 630. 


THE ROTARY SELFFERDING AND SELF-PERFRCTING PRINTING PRESS, WAS PATENTED a | 
WILLIAM BULLOCK, OF PHILADELPHIA, APRIL 14, 1863 ) 


TWO-LINE PICA SKELETON, No. 630. 


Th TYPE SBTTING MACHINE OF FREDERIC ROSENBORG, F SED 
WAS PATENTED IN THE UNITED STATES. SEPTEMBER 9, 1843. 


GEORGE BRUCE’S SON 


& CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
82 


STYLES 323, 324 AND 631. 


Two-LiIne Nonparbit ANTIQUE CONDENSED, No: 323. aio, Two-LinE LonG-PRiMER ANTIQUE CONDENSED, NO. 323. 5 feu. 


THE FIRST TYPE-SETTING CHURCH PROPOSED TO CAST AND 
MACHINE WAS INVENTED BY WILLIAM CHURCH, SPT 7H 000 TYPES PER HOUR 
OF CONNECTICUT, WAS PATENTED, 1821. | . ; 
TWO-LINE GREAT-PRIMER ANTIQUE CONDENSED, No. 323. ,,°8 
Two-1inE Pica ANTIQUE CONDENSED, No. 323. 4 1°, 


ADR. DELCAMBRE’S MACHINE J, MAZZINI’S MACHINE, 
PATENTED MARCH, 1840. PATENTED, 1343. 


Four -LINE PicA ANTIQUE CONDENSED, No. 323. 
BREVIER ANTIQUE CONDENSED, No. 324. 3° a BOS LoNG-Primer ANTIQUE r NSHD UN Oma 4am. hee ome 
JONAS BOOTH, Sen., and his sons James, Thomas, Jeremiah and Jonas, Jun., of RICHARD M. HOE, of New-York, has received many 
New-York, were granted a Patent, Sept. 1, 1829, for a POWER PRINTING Patents: one is dated May 1842. for an Improved 
MACHINE, WITH PLATEN IMPRESSION. It was the First Power Platen DOUBLE CYLINDER PRINTING MACHINE 
| Press made in this Country. The Rollers passed between the Bed and Platen. ; 
Pics Ant1QUE CONDENSED, No. 324. 3.4 GREAT-PRIMER ANTIQUE CONDENSED, No. 324. ?5,sindt2 4 
DEGENER & WEILER’S LIBERTY PRESS. THE POPULAR FRANKLIN PRESS. 
Prize Medals were awarded by the | 
London Exhibition, of 1862, and by the Great George P. Gordon Received his First 
| Paris Exposition, ne 1867, | Patent, August Sth, 1851. 
Four-LinE Pica ANTIQUE EXTRA-CONDENSED, No. 631. pie nde) 
| FIve-LINE PIGA ANTIQUE EXxTRA-CONDENSED, No. 631. rai aes 


SpVEN-LINE PicA AnTIQUE ExTRA-CONDENSED, No. 631. nantes 


T A010; all hour 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
83 


A ‘ ‘ 
ir f y 


TRAY OF IROCB HE nAvHD parte FER mt 
ig 22a Va Af ae ee HOSUHD MALLIW YS C7 TvSTHl af! 


ai E UUY, St oe ars ITHATAT EAW. TOSI 


: 4 
L 
i a : 
. 5 a 
} iis 
a ‘itak eae 
‘ , tf AHAROIR G , G:k adem Sele teil oat ica. euemrart Soe. ie 
" ¢é ¢ TS she o 7 2 ryt a wl Ret: sik. ieetes -| ‘ bal cae ota 
: : 2 UP 4 7a ¢ i. weet teH9 ht eet i AALS adeur: “2TA.14 HES 
. b, , 8 alt Ack tet fet mere: at t- yitewn wth 
. , ; 7 tied * + ae ie oN, uf 
E ; ( TT fF i ey > a VOEPET CPT [pay ert ¥ 5" y 
y q Nd68 FH Gd WEASEL 2a TW é Bt 
7 oli yo hebiewh ovew eishel 
: 7) 
eh ml qs  * — © | - r ; ‘ 
| x inetd sd3-yd bas S68) Yo noitidid 


O48: to woitiaoqxd airnd 


STYLE 632. 
Brevier ANTIQUE ExTRA-CONDENSED, No. 682. °S47Ioo." Lone-Primer ANTIQUE ExTRA-CONDENSED, No. 632. “Di TB on 
THE APOLOGY OF JOHN FROBEN FOR HIS TYPOGRAPHICAL ERRORS. THE NOTICE OF A VENETIAN PRINTER, IN THE YEAR 1503, _ 
I do every thing I can to produce Correct Editions, In this Edition of the New Testament in Aldus Manutius put this Notice on his Door: Whoever you are, Aldus begs 


I have engaged with diffictlty many correctors of the highest ability, among them John : : ‘ 
Ecolompadius, a Professor of three Languages. Erasmus himself has AS Soon as possible, unless you are disposed to take hold and help him. He has 


Done his best to help me, ‘This Book, a folio, was in Press for One Year, but with all this - always enough of Work for you aud for all the friends 
care it was Published with an Errata of a page and a half... Vide Crapelet, page 223. you may bring with you. 


Pica ANTIQUE EXTRA-CONDENSED, No. 682. 


AN EXAMPLE FOR IMITATION, When Francis I, King of France, visited the Celebrated Prin tng 08 Otlee Of 
Robert Stephens, in 1543, he found Stephens diligently engaged in Correcting a Proof Respecting the man aud the exacting nature of 
his work, the King waited, and did not address the Printer until he had finished the Proof, 


Grrar-Promr ANTIQUE Exrra-Conpensep, No. 632. DOUBLE Gyno Dace ExtTra-Conp., No. 682. 


JEROME HORNSCHUCH, a Prot Redo te EQ PREVENT SYPOGRAPHICAL Err, 
17th Century, says that he found nearly 2000 Errors in One ©» He proposed to Instruct the Authors. See lis 
Manuscript, the mdoubted Fault of the Author, Pamphlet. Leipsic, 1680, 32 paces. 


DousLe Enenish ANTIQUE ExTRA-CoNDENSED, No. 632. 


THE PROOF READER, says Horuschuch Inst ‘ately | 
Reftain ftom Anger, from Love, from Sadness, from all Intense Emotion, 
at ive Wis mind entirely to his work....Se6 Crapelet, nage Jel 


DousLE PARAGON ANTIQUE ExTRA-CONI YENSED, No. 682. 


JUDUCUS BADIUS, of the Netherlands, a Learle of CO elt 
Ol the French Press, Wega to Pi int in Pars in 4498 


CANON ANTIQUE ExrRA-ConpENsED, No. 632. 


THE 3 DAUCHTERS of BADIUS Marvel & tua 
PTIMMelS, SteUNEUS, Vaseosall aud De Rowny. 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHamBers-Srrert, NEW-YORK. 


84. 


STYLE 634. 


NonPAREIL ANTIQUE ExTRA Con’p, No. 634. BOE BREVIER ANTIQUE ExTRA Con’p, No. 634. 
HEBER, THE BOOK-COLLECTOR, SAID NO MAN CAN COMFORTABLY DO WITHOUT THE AUCTION-SALE OF HRBER’S BOOKS LASTED 202 DAYS, 


1 MUST BE FOR HIS OWN USE AND REFERENCE; 1 MUST BE T0 LEND TO HIS 


free gorse 117,613 VOLUMES WERE SOLD FOR 56,775 POUNDS. 


a P ne 5 Siesta Wg Cate. OP Two-LInE NONPAREIL ANTIQUE ExTRA Con’p, No. 634. 14 
WO-LINE PEARL ANTIQUE ExTRA Con’p, No. 634. ”°' 


AT THE PERKINS SALE OF 1873, A COPY OF THE AT THE ROXBURGH SALE IN 1812, 
MAUARINE BIBLE ON VELLUM WAS SOLD FOR 3,400 POUNDS: A COPY OF BOCCACCIO, PRINTED BY C. VALDARFER, 
ANOTHER GOPY ON PAPER FOR £2,690, WAS SOLD FOR £2,260. 


Two-LinE Bourceors ANTIQUE ExTRA CONDENSED, No. 684. 


THE OLD MASTERS OF RICHING....REMBRANDT VAN RHYN, BORN AT LEYTE, JULY 10, 
1606; DIRD AT AMSTERDAM, IN OCTOBER, 1668 


Two-LinE PicA ANTIQUE ExTRA CONDENSED, No. 634. 


ANTHONY VANDYCK, BORN AT ANTWhnr, MARGH 22 1. DIED 
AT LONDON, DECEMBER 9, 164) 


TWwo-LINE GREAT-PRIMER ANTIQUE ExTRA CONDENSED, No. 634. 


ADRIAN VAN OSTADE, BORN AT LUBEC, 1610: 
DIRD AT AMSTERDAM, Lodo 


Four- ee Pica ANTIQUE ExTRA CONDENSED, No. 634. 


CLAUDE GELAE, OF LORRAINE, WAS 
BORN, 1600; DIBD AT ROME, 1682 


GEORGE BRUCE’S SON & CO., Type-Founprers, No. 13 CHAmBERS-STREET, NEW-YORK. 
841 


| 
| 


b An BO oj ap 
stirvia? nthe 


, sPatniWe . 7 re 
pny Aa) ey i tle 
Ley: Siyaypes ‘a7 


‘Ae ae a tae 7 ens ple 


6 - r . . Ls 


Two-LINE PEARL CONDEN , No. 126. 


WM. HASLETT MITC “HE ib oF BROOKLYN. N. Y., 


PATENT FOR COMPOSING MACHINE, 1853. 


Two-LiIne MINIO ~ Now 126: 


THOS. W. GIL! \IER. OF VIRGINIA, 
PATENT TY PESG ITER Gi os Gt 


Two-LInE BouRGEOIS CONDENSED, No. 126. mies 
D, B. RAY, OHIO, PATENT, 1862, 


EXPEDITING COMPOSTTTON. 


VICTOR BEAUMONT INVENTED A 
TYPE-DISTRIBUTING MACHINE IN 1852. 
HENRY HARGER, IOWA, 
PATENT TYPESETTER, 1860. 
WM. H. HUSTON, IN 186 
PATENT TYPE-SETTER: 


TWO0-LINE SMALL-PICA CONDENSED, No. 126. 


TIMOTHY ALDEN BEGAN WORKK ON HIS [Ye 
SETTING AND DISTRIBUTING MACHINE IN 1838. 


s PicA CONDENSED, No. 126. 


THE ALDEN MACHINE WAS Ke PATENTED IN 
1800, BY H. W. ALDEN AND W. MACKAY. 


, No. 126. 


THE MACKIE DISTRIBUTING AND TYPE: 
SETTING MACHINE, ENGLAND, 1860. 


» 126. 


Oe BROWN, BOSTON. PATENT 
IN 1862, EXPEDITING COMPOSITION. | 


STREET, NEW-YORK, 


STYLE 310. 


Nonparein ANTIQUE, No. 310. Ne Brevinr Antique, No. 310. 60 a and 30 A 


WILLIAM CHURCH, A CIVIL ENGINEER OF AMERICA, | The SPECIFICATIONS OF DR. CHURCH’S PATENT 

received, March 24, 1822, a patent in Great Britain for of February 18, 1823, describe the fixing of Types “radiantly” 
“Improved Apparatus for Printing.” For a description of his proposed on a rotating cylinder, and the placing of three pressing 
Type-setting Apparatus, see Hansard’s Typographia, pages 665.to 677. or printing cylinders against the central cylinder. 


Long-primer ANTIQUE, No. 310. #0 #4204 Pica Antique, No. 310. ce) 
JAMES HADDEN YOUNG, of England, | JOHN CLAY and FREDERICK 
and ADRIEN DELCAMBRE, of France, were ROSENBORG were granted a patent in 
granted a British patent for a Type-setting Great Britain, 1842, for a new 


and Distributing Machine on March 13, 1840. Composing and Distributing Machine. 


GREAT-PRIMER ANTIQUE, No. 310. 2b evand® 12-8 


JOSEPH MAZZINI, of Italy, in May, 1843, was granted a 


British Patent for improvements in Type-setting and 


Type-making Apparatus, which were entirely impracticable. 


’ 
DouBLE SMALL-PICA ANTIQUE, No. 310. oe eee 


ETIENNE ROBERT GAUBERT, in 1840, 


tTeceived a British Patent for Apparatus which he 


| 
f 
“| 


claimed would distribute type with great speed. 


DousLe EnGiisH ANTIQUE, No. 310. and 20 


HESSINGER, KLI EGEL, 


SORRENSON, BOULE, CAILLARD, 


| 
| 


Inventors of Composing Machines. 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
84.3 


_ tee 

>. 

eee 

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STYLE, 653. 
NONPAREIL CELTIC, No. 653. He BREVIER CeLtTic, No. 653. S0RN 
f ALEXANDER AND JAMES ROBERTSON, | THE FIRST PRINTING IN CONNECTICUR 
FIRST PRINTERS IN THE CITY OF ALBANY, N. Y., IN 1774. | WAS DONE BY THOS. SHORT, IN THE TOWal 
HAD A PRESS AT NORWICH, CONN., IN 1775. OF NEW LONDON, IN THE YEAR 1702 
| 
Two-tinge NONPAREIL Creuric, No. 653. ed 
Two-LInE PEARL Crvtic, No. 653. 
BEGAN PRINTING ABOUT 1686, PRESS IN MARYLAND @ 
“NEAR PHILADELPHIA.” ANNAPOLIS #i 


Two-LIneE BourGEors CeLric, No. 653. 


THERE VAS Al EE IXIN ING linet omens OR 
NEAR WILLIAMSBURG, VA. IN 168755% 


Two-LinE Pica Crexric, No. 653. 


ER] NING eae eeal eis DAVIS IN 
NEW BER INSIN, © On Of. 


Two-Line Enerisn Ceiric, No. 653. | 


ELEAZAR PHILLIPS, if 
CHARLESTON, S Cla 


GEORGE BRUCE’S SON & CO., TypE-Founpers, No. 13 CHamBrrs-StrEET, NEW-YORK. 
84.4 


STYLES 330, 331 AND 332. 


NoONPAREIL ANTIQUE EXTENDED, No. 330. 5's" tp 4 Brevier ANTIQUE ExTENDED, No. 380. *°,*@4 18 
JEROME, WEO DIED 420. EKING ALFRED, 872, 
Says that he Ruined himself by Gawe a Large Estate for a 
Buying a Copy of Origen. Bool on Cosmogsgraphy. 


val Nua 7 Ne ada bh 7 20 a d 10 
Lonc-PRIMER ANTIQUE ExTENDED, No. 330. 2%3an104 PicA ANTIQUE EXTENDED, No. 380. Oa and 10 


THE ROMANCE A HOondAILsyw 
Of the Rose was Sold Was Traded for 
for 80 Pounds. BOO Sheep. 


PrarL ANTIQUE EXTENDED, No. 331. “ee Gk 


In BNGLAND, DURING THE REIGN OF BDWARD vViI-, OR IN A- D- 1552, BOOKS OF ASTRONOMY AND GEOMETRYZ 
Ware ORDERED TO BH DESTROYED FOR THEY WHERE SUYFPYFrOsSsED TO TREAT OF MAGIC. 


Prart ANTIQUE ExTENDED, No. 382. twa tore | NONPAREIL ANTIQUE EXTENDED, No. 882. 22? Au, 
3553 VOLUMES PUBLISHED IN ENGLAND IN 2,082 VOLUMES WERE PUBLISHED IN 
THE YHAR 1864. BINGLAIND IN 1889. 


Two-LinE PEARL ANTIQUE EXTENDED, No. 382. 931793. 


BREvVIER ANTIQUE EXTENDED, No. 382. Bore 
3.859 NEW BOOKS PUBLISHED IN JEONG S597 MISts) (spies) WAGAEAD tia 
BNGLAND IN 1852. ISSUED IN 1842. 
Two-Lins NonpARIEL ANTIQUE EXTENDED, No. 382. ete 


mao BOOKS WHR PUBLISHED IN PARIS 
IDOI SAIN A Eas ra ys) 2G Stopk. 


Two-LINnE BrReviIER ANTIQUE ExTENDED, No. 382. aay Be 


BOOKS WITH DHAVES USHD BY 
KING ATTALUS, 198 B. C. 


Two-LINE LONG-PRIMER ANTIQUE EXTENDED, No. 332. Lae 


Mss. OF HERCULANEHU™M, 
ARE 9 INCHES LONG. 


Two-LiIngE PicA ANTIQUE EXTENDED, No. 382. cee 
og NO. GROLLIER, 1520- 
Two-ninn Enauish ANTIQUE ExrEnDED, No. 382. isn, 


GPR. RITTER, 1540 


GEORGE BRUCE’S SON & CO., Typr-Founpers, No, 13 CHAMBERS-STREET, NEW-YORK. 
85 


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STYLE 640. 


BrevieR Runic, No. 640. 
SUNDRY NOTES ABOUT PROOF-READING. LE JAY, EDITOR OF A POLYGLOT BIBLE IN 10 VOLUMES FOLIO, WHICH WER’ 
17 YEARS UNDER PRESS, PUBLISHED 1645, IN THE HOUSE OF ANTOINE VITRE, PAID PHILIPPE D’AQUIN, 
4,000 LIVRES FOR THE CORRECTION OF THE OLD TESTAMENT IN THE 2 LANGUAGES 
OF HEBREW AND CHALDAIC...A SUM EQUAL TO ABOUT $2,100 GOLD. 


Two-LiInr Prart Runic, No. 640. Te ee 
A PUBLISHER OF PARIS, IN 1825, PAID 48 FRANCS FOR THE READING OF EACH LEAF OF A COLLECTIO! 
OF THE LATIN CLASSICS, IN 32M0. THIS PAYMENT WAS EXCLUSIVE OF ANOTHER 
CHARGE FOR REVISING AND PREPARING THE TEXT OF THE COPY. 


Two-LINE NONPAREIL Runic, No. 640. 


CHRISTOPHER PLANTIN, BORN 1514, DIED 1589....A THOROUGH PRINTER. 
COULD SET TYPES, WORK PRESS, AND READ PROOF. HAD WORKED IN MANY 
FOREIGN OFFICES. THE EMINENT CORNELIUS KILLIAN WAS ONE | 
OF HIS READERS OR CORRECTORS OF THE PRESS. 


TWoO-LINE BREVIER Runic, No. 640. 


MICHL. SERVETUS READ PROOF FOR: THE BROTHERS 
FRELLON AND TRESCHEL, OF LYONS. WAS BURNED AT TE 
STAKE IN 1503, FOR HERESY, AT THE AGE OF 44 YEARS. 


Two-LInE Lona-primer Runic, No. 640. 


ROBERT STEPHENS, WHO DIED 1559, MADE. LATIN: 
THE LANGUAGE OF HIS HOUSEHOLD. | 


TWO-LINE Pica Runic, No. 640. 


READERS FOR H. STEPHENS’ THESAURUS, 
1972: SCAPULA AND SYLBURGE. 


i 
TWO-LINE GRBEAT-PRIMER Runic, No. 640. i" 


FRANCIS MODIUS READ FOR | 
FEYERABEND FOR 200 CROWNS. 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CuamBers-StrReET, NEW-YORK. 
86 


STYLE 641. 


Nonparem Runic, No. 641. Sphere ae 


WOOD in the form of Tablets was in use for the Purpose of Writing before the days 
of HOMER: see Iliad vi. ver. 168. Wooden Tablets, at first Plain and afterwards 
Coated with Wax of various Colors or Chalk, were in Ordinary Use among the 
ROMANS. Tables of Wood were used for the Publication in distant Provinces of 
THE LAWS OF THE EMPIRE in the 4th Century. long after Papyrus was known. 


Lone-PprimprR Runic, No. 641. Soe 


VARRO observes that the practice of Writing on 
Papyrus was first Introduced into EGYPT during 
the Reign of Alexander the Great, but, Sir J. G. 
WILKINSON states that the style of Hieroglyphic 
found on some Papyrus, corresponds with that in 
use during THE AGE OF CHEOPS, say B. C. 1082. 


BreEvIER Runic, No. 641. vee 


In CHINA, Letters appear to have been Painted on Linen 
and Silk before the Discovery of Paper. Specimens of 
Hieroglyphical Writing on Linen have been found within 
many EGYPTIAN MUMMY CASES, of the period B. C. 2000. 


Pica Runic, No. 641. 


Parchment is said to have been iventen 
by EUMENES, of Pergamus, the Founder 
of the Celebrated Library at that place 
about 190 B.C. Cotton Paper, an Eastern 
Invention, was used in the 9th Century. 


GREAT-PRIMER Runic, No. 641. 


MONTFAUCON was unable, after a Diligent Search tibia ltaly and 
France, to find a leaf of Linen Paper dated anterior to 1270. 


PARAGON R unIc, No. 641. 


The first Paper Mill in ENGLAND was oe at aenfordl 
In the Reign of Henry VII. by JOHN TATE the younger. 


Dovusue Pica Runic, No. 


641. 


Parchment Paper was Invented in Paris by 
_ FIGUIER AND POUMAREDE, 1846. 


Canon Runic, No. 641. 


Paper Hangings were Made in 


GEORGE BRUCE’S SON & CO., TyPpE-FOUNDERS, 
87 


HOLLAND & SPAIN, about 1590. 


No. 13 CHAMBERS-STREET, NEW-YORK. 


; i Le fear 
acs i } hy URE A> aa igire? banaas 


LMERY af 4), GAC PR h ot Fat bee oa eee auies cit 
’ ' 8 fl ie eee? aati ye a seg? bi heil 
wae Va ea A 2 RTE RY qiven » alti or ay Rais wa oratyd nay t¢y ig <aW id 
b, lik cl” vag With) 2 ie t abe Fed tae PN OTLaIAY Ged yah fete ane be ase it, mo 
: i ; "y Hy "cuh \ dei 4 cow ORO OTe Gilet rink ae ell al 2AtMa BAY | 


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ia Ait vrub TH409 olnt bsothowrt lei: aewe 
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STYLES 642 AND 643. 


60 a and 30 A 
3 y 


Nonpargei Cruric, No. 642. 

THE PROOF-READING OF SPAIN...1600-1700. 
During the Sixteenth Century, Books were so badly Printed 
in Spain, that the Government thought proper to appoint 
a Censor. No Book could be Published until the Censor 
had certified to its accuracy, except as to the faults, which 
should be fully specified in the Errata. See Certificate in the 


Antiquidades de Espana, by Ambrose Morales, of Alcala, 1577 


40 a and 20 A 
5 Jb. 6 oz. 


A FRENCH: ORDINANCE WMG4e, 
Article XX VI. Requires all Publishers to 
Insert in Catechisms, Breviaries, Missals, 


LonG-prRiMpR Critic, No. 642. 


Lives of Saints, etc., a Certificate 
that the Text is Correct. 


GREAT-PRIMER 


BReEvVIER CeutTic, No. 642. 


AMisN=y VENSKOXOND aus AIDVIUNGES Oust JP /NIL SY j 
Erasmus says that the Books Printed in Italy, in) 


60 a and 30 A 
5 lh. 


his life time, were, without any exception, full ojf 
Errors. He attributes the Errors to the parsimony | 
of the publishers, who would not pay Readers Eye 
proper price, See his) Epistles, lbs xx cere 1,027 
as quoted by G A. Crapelet, a Printer, Page 178} 


Pica CxEuric, No. 642. 


THES PIR Sta Aes 
Is found in a Juvenal. Was Printed 
by Gabriel Petrus, Venice, 1478. | 


Occupies 23fulls pages: | 


30a and 15 A 
6 Ib. 2 oz, 


Cruric, No. 642. 


25 a and 12 A 
9 Ib. 8 oz, 


AY GHEE VIMEI ERO INS El EG: Ee peey eo PRINTER 
Of 16th Century: They used Execrable Paper, | 


and their Texts were Intolevably minceukeer 


DouBLE Pica Crrric, No. 642. 


20 a and 10 A 
15 |b. 


A BOOK OF PICUS MIRANDOLA 


Printed by Knoblench, of Strasburg, in 
1507; has 16 pages Ofaaiegarer 


Brevier Extraenpep Runic, No. 643. 
THE ANATOMY OF THE MASS OF 1561. 

In this octavo of 172 Pages, the Editor says that the Devil, 
to stop the Publication of the Book, Drenched the 
Manuscript Copy in a Kennel, and obliged the Printers to 
make more Blunders than had ever been known in 

so Small a Book. 


60 a and, 30 A 
4) 


It has an Errata of 15 pages. 


Pica ExTenpEp Runic, No. 643. Se Ihe oe ke 


6 Ib, 2 oz. 


THE BARON DE GRIMM 
Says, a very Irritable French Author 
Died in a Fit when he saw that 
his Book had been Printed 
with 300 Errors. 


i 
| 
| 
\e 
| 
I 


: 


LONG-PRIMER ExTENDED Runic, No. 643. 4°48 22" 
THE LUSIAD OF LOUIS CAMOENS 
Was Magnificently Printed in the city of Lisbon, 
by Dom Jose Souza, in 1817, who flattered 
himself that it would be without a single 
Error. But an Error was quickly found, 
and in the first section. 


j 
a 
| 


GREAT-PRIMER ExTENDED Runic, No. 643. 7% 4s74 28 
ANTONY CAMPANUS 
Corrector for Hahn, of Rom 
allowed but 3 Hours for — 
Sleep. Died at 50. 


GEORGE BRUCE'S SON & CO., Type-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 


88 


7O-LINE GEOIS GRECIA i 
’ 


MOUTON WAS CORRECOR AND OORT 20 YAKS, TOS PEBLISED THE OEE OF ASELE OF HRTURER 


WILLIAM WITTINGHAM, A FAMOUS PRIVTER OF TH C(TY OF LONDON. ITED 179 


TWO-LINE GREAT-PRIMER GRECIAN, No. 633. 6,244. | Four-Line Pica Grecian, No. 633. Pot 
| 
| 


b A | SEVEN-LINE Pica Grecian, No. 633. Bee 
FIve-LIne Pica GRECIAN, No. 633. te des ; ee” 


TEN-LINE Pica Grecian, No. 633. 24 Ib. 10 
| 
| TWELVE-LINE Pica Grecian, No. 633. alee 
| 
) 
} i 
i 
| . 
| SE let Eee 8 2 en eee 
GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERs-Strert, NEW-YORK. 
i = 

Ore 


'y 


om sm i ia Tn ‘ 


Sv 2 ROR 


STYLE 340. 


_ Two-LinE Praru Iranian, No. 340. ease 


THe SOOK-ROLLING MACHINE: Tila SUSSTITUTES FOR Tita SOOH-BINDER'S 
BEATING HAMMER, WAS INVENTED BY WILLIAM SURR, ENGLAND, ABOUT 183SQ) 


Two-LinE Minton Irantan, No. 340. ae 


FINISHING TOOLS HEATED BY GAS STOVES WERd a 
Usk IN BINGCLAND ASB0CUT THE YEAR 1550. 


Two-LINE BREVIER ITALIAN, No. 340. 


SOCLS WERE SOUND IN CLOTH CASES. AID 
WITH TYPE-PRINTING ON COVERS, 1284. 


‘TWO-LINE SMALL-PICA ITALIAN, No, 340. 


DEROME, BOOK-EINDER, PARIS, “4550 


TWO-LINE GREAT-PRIMER [TrALIAN, No. 340. 


ROGER PAYNE...4847 


Fivk-LINE Pica Irautan, No. 340. 33 Ib. 8 07. 


moAM...LS40 


SEVEN-LINE Pica Iranian, No. 340. 


4.5 "Sat 


, 


INORAW 


90 


STYLE 341. 


NonpareiL ITALIAN CONDENSED, No. 341. "9404 BREVIER ITALIAN ConDENSED, No. 341. °,#,r4224 
PRINTING IN COLORS AS PRACTISED BY THE EARLIER PRINTERS. SOME EMINENT ENGRAVERS IN CHIARO OSCURO. 
‘Two Colors were used by Peter Schoffer in Printing the Initial Letter of the Mentz Psalter o 


Ugo da Carpi, of Italy, in 1518—Louis i i 
1457. Gold was used by a Printer of Venice in 1477. Red was in common use by g D : P 'p f ae ne is : ae a : : Germanye se 
Printers of all countries at a very early date. But in no case did any Printer OMenICo, SeCcaum yO Tht Albert Altdorfer and 
of the 16th, 16th or 17th Conturies attempt the Printing of Finished Hans Baldung, of Germany, and Lucas Jacobs Leyden, of 


Pictures by Contrasting and Overlapping Colors. Holland, in the early part of the 16th century, 
| There was no Printing Press in use for many Centuries that could be trusted for Register. All Engraved Wood Blocks in sections, for Different Tones of the Same 


attempts at Color Printing were in Chiaro Oscuro, many tints of the same color, in Color, which were Printed together with good effect, 
which inaccurate register was not regarded as a fatal fault. 


LONG-PRIMER ITALIAN CoNDENSED, No. 341. 4°32") 204 


Ib. 8 oz 


JOHN BAPTIST JACKSON, OF VENICE, | 
“Was the first to attempt the use of Contrasting Colors. JOHN BAPTIST MICHAEL PAPILLON 


His first essay was in Venice, where, in 1744, he | Published at arise in 1766, a Treatise upon 


Published Six Landscapes. He states that he Engraving on Wood. in which he 
was obliged to Invent an entirely New 


Pres for this Work. He also attempted Cameo Printing, | Exhibits a few Specimens In Colors made 
Paper Hangings, ec. | in the roughest style. 


PICA ITALIAN CONDENSED, No. 341. °7a,mat5 4 


GREAT-PRIMER ITALIAN CONDENSED, No. 341. 


2 2A 
5 te 


WILLIAM SAVAGE, of London, in 1819-1822, Published Hints on Dee Printing. 
One of his Illustrations, Mercy, was produced by 29 Blocks, all from Wood. 


DouBLE SMALL-PICA TTALIAN CONDENSED, No. 341. popiee Tae 


“10 Ib 


SEORGE BAXTER, of London, in 1836, Patented a Seer 
: of Steel, Stone, Wood, and Aquatint Blocks and Plates. 


DousLE ENGLISH ITALIAN CONDENSED, No. 341. 


x. (. LEIGHTON, of London, in 1849, used stched Zine 
Plates and Wood ati marked success. 


DouBLE GREAT-PRIMER ITALIAN CONDENSED, No. 341. 


FIRST Colored Prints in Illustrated 
London News, December, 1856. 


Canon ITALIAN CONDENSED, No. 341. ee acu 


VHROMO-Lithograph, Paris ‘59 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
91 


CPDL een at PPP SET 
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L Adade ca Wak cio | | ee ee 2: 
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STYLES 800 TO 818. 


BREVIER ORNAMENTED, No. 800. ‘ ihe 2 on. 


FIORDOAUS BADVOS, ONGE READER FOR TRECHS IL, BIRGAN FO BIRT AT JOAGRES, TS 4498.) 


TWwo-LINE PEARL ORNAMENTED, No. 801. Senn | Two-LInE PEARL ORNAMENTED, No. 802. 21,7 o'o, 
PANTALEON READ PROOF Air BASILE TY ENE ISWWEWRIIN PRINTING OWFICIE | 
Two-LINE PEARL ORNAMENTED, No. 803. Aero 


PANT ALTON, APTCBUR WW AGRI A GRUB ACHR, GRYOUR. HOUND PUREE, FS23 


Two-LINE PEARL ORNAMENTED, No. 804. ee Two-LInk PEARL ORNAMENTED, No. 805. 9° ¢ on | 


J. CHOPPUNS, A } RIGMAR, | READ RROOT, 1501, FOR WERICH GORING, 


Two-LINE PEARL ORNAMENTED, No. 806. Bye Sie 


BASTIUBORANCIEIRIRO@IUID IRIBAID IPIROOR AM BASIUB coolSS9coo MANY ab 


Two-LINE PEARL ORNAMENTED, NO. B07. oit's'. Two-Line NONPAREIL ORNAMENTED, No. 808. eo: 80m 


PREDERIC MOREL READ PROOF FOR CHARLOTTE GUILLARD 


Two-LinE NoONPAREIL ORNAMENTED, No. 809. 3 Ib. 8 on 
BRASMUS READ ENOUGH TO EHREP 3 PRESSES AT WORE. 


Two-iiInr NoNPAREIL ORNAMENTED, No. 810. 2 ,2°,2,,. | Two-LinE NoNPARED ORNAMENTED, No. 811. 21h? on 


G. JUNCERMANN OF LEIPSIC | READ POR C, WHORL, FRAMKPORE 


Two-.tine NoNPAREIL ORNAMENTED, No. 812. 3 Wh. 12 on, 


ALDUS WAMULUUS, 1500-1S10, HAD SBVMBRAL BRADBRSS, 


as ee es Eee : 4 | 


a ps > NONDAPRT oar eer ? . Bu | ia ‘ 
['wo-.Line NoNpAREIL ORNAMENTED.. No. 813. , 2A, | Two-Linrt NONPAREIL ORNAMENTED, No. 814. 31100, | 


BE we DY RRS. 


Two-LiIne Nonpareim ORNAMENTED, No. 815. 


15 A 
2 Ih, 15 oz. 


KUNNEN CORCERRRRL GERD LLSO FORK RRDREW WEGREL OK WEE. 


i? 


15 A mm +e r ss b a 
Lib. 13 ¢ | I'wo-LINE NONPAREIL ORNAMENTED, No. 817. 51.320) 


Mh CARELESS PROOP-READER MAKES | WIE PO OO, YOO GTS 


Two-Linge NONPAREUL ORNAMENTED, No. 816. 


Two-LInE NONPAREIL ORNAMENTED, No, 818. meat 


RY ALSTEDIUS REMARKS THAT A BOOK BADLY PRENTED 1S A LITERARY CORPS. 


Sent, 


GEORGE BRUCE'S SON. & CO., Typr-Founprers, No. 13 CHAMBERS-STREET, NEW-YORK. 
92 


STYLES 819 TO 834. 


TWO-LINE BREVIER ORNAMENTED, No. 819. 


“HE FIRST PUBLIC LIBRARY IN ITALY ae AT FLORENCE, BY 


Two-LINnE BREVIER ORNAMENTED, No. 820. 4 ih’ s\o. Two-LINr BREVIER ORNAMENTED, No. 821. 4 4, 


‘HEGKHOLAS NEICCOLT ace -E TO THE | PUBLIC 


Two-LINE BOURGEOIS ORNAMENTED, No. 822. 


BRDGDDEDEEDG ere PE DDD EDED AD OG DS Bat seis IN 


iesvoepeanrsvanerencvanocoanvnasencenneaovtonneeeeneugvenne cee veevavevacevivnuve COVOveUuQonenan8UOUUUEENVEFUEEOEENOTOONDUrVECOEOOOOOVOQUGOOUEQUOOOOGQTEGUUEENSEODInU® EHUQNHUK COVVONQREATUAUEKOOUADHVGvOGE cannes HONVOOURUEFUNEEKUTODE EOUHO GG AKOTHOOGEUENEOONGVO440UVATUNOGNIQQSOSQUOGOQOGeovennncovoveeOOGUHOG( dOUAEOGELOvOWoUCetavusnenvovvoTE0QvavesvanuCenvovecauovsoosnvvonnrancnireayivvanciauvovectudviauearcinvyaneanvddiviny: arty. 


Two-LIne BOURGEOIS ORNAMENTED, No. 823. 5iv 6 Two-LInE LONG-PRIMER ORNAMENTED, No. 824. 5}? A,. 


“GREEK, HEBREW, ARABIC 


Two-LINE LONG-PRIMER ORNAMENTED, No. 825. = — #A 


a THE) VATICAN LIBRARY MSO AT AMET Te THe OT OUR LON Te oT 


Te he Two-LIne L ONG-PRIMER ORNAMENTED, No. 827. 


Two- LINE LONG-PRIMER ORNAMENTED, No. 826. 4 i75', 


WIGHOLAS V. © SIXTUS TV. ALVED 


Two-LINE LONG-PRIMER ORNAMENTED, No. 828. 


WE YATIUAM LIBRARY HAS 160,000 YOLS. As 10,000 WSS. 


| ~Lfwo-tine Lonc-prRIMER ORNAMENTED, No. 829. 40713 ox. | 'TWO-LINE LONG-PRIMER ORNAMENTED, No. 830. 


HMPERHAL LIBRARY «=U THE SITY OF YIEMIA 


TWo0-LINE SMALL-PICA ORNAMENTED, No. 831. 


Was FUCHS) BY PASSEAN EIN a, ald oY 


TWo0-LINE SMALL-PICA One ain nrED, No: 832. on ¢e. 


BS ECURIAL BOOKS OP Pee we ES 


TWO-LINE SMALL-PICA ORNAMENTED, No. 833. 7 ih? Au. 


TWo-LINE SMALL-PICA ORNAMENTED, No. 834. 6h 


AIGHARD 08 BY AY. 5 MAST b LIBRARY IN SNGLAND, 1844 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
93 


0%, 


} 


J WI909 TERIA 


MHOE HE Sa oer galeria Tes a 
ae yee rn 


STYLES 835 TO 850. 


Two-LINE SMALL-PICA ORNAMENTED, No. 835. nie 
Y 
10-1363), BY 
‘'y PARIS, (350 16) 
Bs 'T'wo-LINE SMALL-PICA ORNAMENTED, No. 837. rare | 
Two-LINE SMALL-PICA ORNAMENTED, No. 838. ta 
ax Ay Nd fe PFA TERAwR CG RES 
: ye ¥ i Gi OS, , G4,U 600 SS. 
TWO-LINE SMALL-PICA ORNAMENTED, No. 839. 7 Two-LINE SMALL-PICA ORNAMENTED, No. 840. 12 A] 
COPTONTAN, BEGAN IN 1800. 
Two-LINE SMALL-PICA ORNAMENTED, No. 841. @ Wb. 14 07. 
oe = —_— 
ED FREE IN 1LvoOol, 
Two-Ling PrcA ORNAMENTED, No. 842. pike ene 'Two-LINE PicA ORNAMENTED, No. 843. 72 A 
@ J | 
RTIALLY DESPD 173. 210N COLLEGM) 
| 
Two-LIneE Pica ORNAMENTED, No. 8 Ib 2 oz. 


PEOMOED we 


Two-LIne PICA ORNAMENTED, No. 845. Baca 


v "oy (@m @)) ,0,0,° ~y Ber ea te eet ne ee SX 
ho WRG: Leeeoew 


fa 


Two-LInE PIcA ORNAMENTED, No. 847. 


Two-LiInE PIcA ORNAMENTED, No, 849. Pay i 


7 OPENED, MDCHI. 


TWoO-LINE PIGA ORNAMENTED, No. 850. Mean 


NEARLY 490,000 YOLUMES AND 30,000 33. 


aa 


eee a ee = - 


2 


GEORGE BRUCE’S SON & CO., Typn-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
94. 


STYLES 851 TO 863. 


Two-LINE PrcA ORNAMENTED, No. 851. on 


BARR GUL eo, EA tO OO Voie Wie ay dood. 


1 PicA ORNAMENTED, No. 853. Races 


> Ib. 8 02, 


Soy SOME ME SOCIETY LIBRARY 


Two-LInr ENGLISH ORNAMENTED, No. 854 ate 
TWwo-LINE ENGLISH ORNAMENTED, No. 855. 10 T'wo-LinE ENGLISH ORNAMENTED, No. 856. 6 1°%3 


TwOo-LINE ENGLISH ORNAMENTED, No. 857. eee 
FOR FOUNDING OF A LIBRARY IN PHILADELPHIA 
\ ALA\ 20, 
| 
| ——_- — = == 
j TWO-LINE ENGLISH ORNAMENTED, No. 858. 71's‘. TWwo-LINE ENGLISH ORNAMENTED, No. 859. 9 11°:3 
| CO 
Two-LInn ENGLISH ORNAMENTED, No. 860. Siiks ree 
| ee : sc a0 SS. ee : SF 
WASEUCLOM LARGEST We GS 
ENS \\\ Wn. LK IN } : oWo 
| 
TWwo-LINE ENGLISH ORNAMENTED, No. 861. 710 | Two-LINE ENGLISH ORNAMENTED, No. 862. 6 °%3 


THR AVHENKUM CITY OF BOSTON, 


Two-LINE COLUMBIAN ORNAMENTED, No. 863. ana 

OMoffo | WYO] o 

il — | RAL 
‘| p' 

a8 | 7 | 

° o} ° J) On 


GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13: CyamBrrs-STREET, NEW-YORK, 


95 


7 cy 


7. % > 
vi Aen Mu ves 1 An 


e Te 


fe 


ee 2 Ue oe 


af a - 


STYLES 864 TO 874. 


Two-LINE COoLUMBIAN ORNAMENTED 


{ 
‘ 
, No. 864. Be TWo-LINE GREA'T-PRIMER ORNAMENTED, No 


TI 


LO 
Wy 34 
Wit 
—s 
mai 


[Wo-LINE GREAT-PRIMER ORNAMENTED, No. 866 


TWO-LINE GREAT- 


PRIMER ORNAMENTED, 


TWO-LINE GREAT-PRIMBR ORNAMENTED 


é 8 
) No. 868. 10 Ib. to 07, 


CHNEATNS ANTE MLN WOES, 


TWo-LINE GREAT-PRIMER ORNAMENTED, No. 870 


12 Ik TWwo-LINE GREAT-PRIMER ORNAMENTED, No. 871. ois son 
ee CAS roo ANE NANWE SYA 

ney @ i Y U \ 
WHY $ 


Kee 


PWo-LINE GREAT-PRIMER ORNAMENTED, No. 872 


“Y 


Som 


WZ = BY) x 


TWO0-LINE GREAT-PRIMER ORNAMENTED, No. 874. 


8 


TWO-LINE GREAT-PRIMER ORNAMENTED, No. 873. 5; 


ake toe 


LUBRY JOB I. ASTOR 


GEORGE BRUCE’S SON & GO 


, Typn-FounpDrErRS, No. 13 CHamMBERs-StREET, NEW-YORK. 
96 


STYLES 875 TO 884. 


TWO-LINE GREAT-PRIMER ORNAMENTED, No. 875. 


SCHOEFFER DIED, 1503. 


Two-LINE GREAT-PRIMER ORNAMENTED, No. 876. 84 | TWO0-LINE PARAGON ORNAMENTED, No. 877, 11h, 
| p = = 
3 ) | o = 
| | l SN = 
| } | A\= * 
| Chat Toraenec Set = 


TWo0-LINE PARAGON ORNAMENTED, NO. 878. 8 Ib. 14 of 


ICOM OME Bc MUS hie, 1g 


C2 
— 


FOUR-LINE PIcA ORNAMENTED, No. 879. 4130 fo 


anise | FIVE-LINE PIcA ORNAMENTED, No. 883. siaReeten 


y 


Y 
UU UY 


: SS 
BN 


Five-LInE PicA ORNAMENTED, No. 884. 


GEORGE BRUCE’S SON & CO., Typr-FoUNDERS, NO. 13 CHAMBERS-STREET, NEW-YORK, 
oa 


Scheele 


men 


» fren 


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STYLES 885 TO 893. 
FIve-LINE PicA ORNAMENTED, No. 885. BEd Se | 
TW i 1D OA 

L U 


FIVE-LINE PICA ORNAMENTED, No. 886. ot ie FIVE-LINE PICA ORNAMENTED, No. 887. 15 Re 


—- a 


Six-LINE PrcA ORNAMENTED, No, 889. 32 th. 7. S1x-LINnE Pica ORNAMENTED, No. 890. 2: Bn 
SEVEN-LINE P1cA ORNAMENTED, No. 891. 26 th 

, 

t 

p 


SEVEN-LINE PICA ORNAMENTED, No. 892. Ht 


\ 
\ 
ISSR 


GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. ~f 
98 | 


STYLES 894 TO 900. 


EIGHT-LINE PICA ORNAMENTED, No. 896. 27 th 


BU, 


EIGHT-LINE PIcA ORNAMENTED, No. 897. 


UTENE 


NINE-LINE PICA ORNAMENTED, No. 898. a, 240. 


Nig 


$C 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
99 


Serie 
in 


i eer 


Clea Se aa 


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4 
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. 
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Ps 7 ieee) psi ia racial . 
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STYLES 1,001 TO 1,006. 


Two-tine PrcA ORNAMENTED, No. 1,001. 9 awa’, TWo-LINE BREVIER ORNAMENTED, No. 1,004. sis, | 
ALGER HONE MIG APRUL GH, (SNA, ©‘. Boma OIE Sarva, USaa, 
Srx-LINE Pica ORNAMENTED, NO. 1,001. 35'il"s°or Four-Line Pica ORNAMENTED, No. 1,004. ib. 


i ings 4s 4s ka 


TEN-LINE PICA ORNAMENTED, No. 1,001. 17:2 ie .. 


EKO ~ & Ss 
5 5 SOA RQ RQ TF N | 
Four-LiInE PicA ORNAMENTED, No. 1,005. 118.60 


TWO-LINE PICA Re No. 1,002. 7 ib. 


Four-LinE PicA ORNAMENTED, No. 1,002. 103.4 o. 


ae Y 1 . Four-LINE PicA ORNAMENTED, No. 1,006. 


FouR-LINE PIcA ORNAMENTED, No. 1,003. 108.4 0 


BA 
15 Ib, 12 o2. 


< 


’ : 
NS Ans 


MW NH 


aN 7 a 
QK\'RRAWS® 


ISK ss S \ \ \ 
OS MY HQ MOoOMoiss 


GEORGE BRUCE’S SON & CO., Typr-Founprers, No. 13 CHamMBrrs-STREET, NEW-YORK, 
100 


STYLES 1,007 TO 1,009. 


TWO-LINE SMALL-PICA ORNAMENTED, No. 1,007. 


PRINTERS IN FRANCE 


No. 1,007. “int i 


MARMORO 


Four-LINE PicA ORNAMENTE dD, 


10 A 
6 lb, 14 oz 


Two-LINE ENGLISH ORNAMENTED, No. 1,008. 


JAGa 


Four-LINE PICA ORNAMENTED, No. 1,008. 3,7 2,, 


Two-LINeE NONPAREIL ORNAMENTED, 


JEAN BARBOU, 


No. 1,009. 


15 A 
3 Tb. 


PRINTER AT LYONS IN 1539. FIRST OF A FAMILY OF 


PRINTERS, WHO FOLLOWED THE ART FOR NEARLY 300 YEARS. 


TWO-LINE BOURGEOIS ORNAMENTED, No. 1,009. 4h? Au, 


HENRI FOURNIER, 1839-47 


‘oni he 


Two-LINe ENGhisHh ORNAMENTED, No. 1,009. 


M. CLAYE, 1848. 


BA 


a 
a 


Four-LingE PicA ORNAMENTED, No. 1,009. 


12 A 
6 lb. 6 oz, 


TWO-LINE SMALL-PICA ORNAMENTED, No. 1,009. 


TWO-LINE GREAT-PRIMER ORNAMENTED, NO. 1,009. ii ik bce 


‘DE BURE 1660. 


10 b 8 oz. 


FIVE-LINE PicA ORNAMENTED, No. 1,009. 151° 4s ox. 


‘BOU,1808 


INO se O09 Stes: ncatee 


SIX-LINE PICA ORNAMENTED, 


GEORGE BRUCE’S SON & CO., 


TyprE-FouNDERS, No, 13 CHAMBERS-STREET, 


101 


NEW-YORK, 


i a 
J } 


i - 


iu eo eh) S- 


Te . 


rt 


oe ge! 
} GPT periaael mee 
mee oe Re 
airs 


a wf es yet << Dt -) Z ' = 

8 ae AD oh 

Sat ade he 
7 , ak 

5 - Ses t a 


ar 


STYLES 1,010 AND 1,011. 


Four-LINE PicA ORNAMENTED, No. 1,010. 11 ib, Two-LInE PicA ORNAMENTED, No. 1,010., ama on 
SUM OAM 
\ \ | | 
J EIGHT-LINE PIcA ORNAMENTED, No. 1,010. oe ail 
Six-LiInp PicA ORNAMENTED, No. 1,010. 13 tb. A 0 A ! 
| 
Two-LiInE NONPAREIL ORNAMENTED, No. 1,011. Ge 


JAMES, THE INDIAN PRINTER, APPRENTICED TO S. GREEN, OF CAMBRIDGE, ASS, 1659 


FourR-LINE PicA ORNAMENTED, No. 1,011. Boe 
© TEFAININE Os 30ST0 \, 599 
EIGHT-LINE PIcA ORNAMENTED, No. 1,011. Pris. 


SIX-LINE Pi¢GA ORNAMENTED, No. 1,011. osi too as Bh N 
i. | i 
tT 


TWELVE-LINE PICA ORNAMENTED, No. 1,011. 


BA 
46 lb. 12 02 


= 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
102 


STYLES 1,012 TO 1,015. 


Two-LInE PEARL ORNAMENTED, No. 1,012. , 2°A,,. | Two-LINE BREVIER ORNAMENTED, No. 1,012. 5 wit a. 


T. FLEET, OF PUDDING LANE,BOsTON | TN DEVONSHIRE STREET 


8 


mm T 
: [WO-LINE GREAT-PRIMER ORNAMENTED, No. 1,013. {84 
TWO-LINE PICA ORNAMENTED, No. 1,013. Bares a 


SCHOOL ST. 


; 


FOUR-LINE PICA ORNAMENTED, No. 1,014. ,,°3,, 


Necro pressman NEGRO CASE 


Two-LINE NONPAREIL ORNAMENTED, No. 1,015. Sess 


THE “BOSTON EVENING POST" WAS FIRST PRINTED IN AUGUST, IN THE YEAR OF 1735, 


TWO-LINE BOURGEOIS ORNAMENTED, No. 1,015. age. 
i AS iG ‘7 + -~ ar mn pr i @ta 4 y "y A) “WAY Y A in| i YN NY | ™ ) \\ t ) j a a) ina KO 
TWO-LINE PICA ORNAMENTED, No. 1,015. , (2°... | TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,015. i083 0 


FOUR-LINE PICA’ ORNAMENTED, No. 1,015. 9 233 ax. 


SEX-LINE PicA ORNAMENTED, No. 1,015. 11? too. 


cri BIN 


TEN-LINE P1IcA ORNAMENTED, No. 1,015. Sas 


‘2 ~~ 
EIGHT-LINE PIcA ORNAMENTED, No. 1,015. 95 ih. 44 oz 4 (a S, Ne 
mo SZ | = : 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


1038 


} 


5 iy ep 
RNa 


. A * 
Pad ; 7 "~ Pie te 


Se 


ue ue cal + ier eae ee ated ws 
Teasers 27) oveig Bi. oT208 aBAS oMIaaTe tc. tia 


evi WAMB2GR4 nag 


\ ABT UA Ad dnd ude! it <«@ 
. ee AED Oe 


. etera hii 
ae aa A eee 
Wid 


STYLES 1,016 TO 1,023. 


Two-LINE BouRGEOIS ORNAMENTED, No. 1,016. 9 w.49 0. 


GONNEGTIGULS FIRST PRINTER 


TwO-LINE PicA ORNAMENTED, No. 1,016. su56« 


\ ae \ W () Vf NT 5 7 | ) \ 2 
\PPREVTICED TO 
Ls a Come mo hon Cs d 


Two-LInE NONPAREIL ORNAMENTED, No. 1,020. 2° A,’ 


TRSWAS SHOVE SE VEN LONDDA, | 


Two-LINE LONG-PRIMER ORNAMENTED, No. 1,020. ; it? fu 


GRUEN VF BOSTO) 


|| | ) 
Doe Dy ee ee ed ond baie 


RQ. 
TM 


Two0O-LINE MINION ORNAMENTED, No. 1,017. 5. 32 0: 


Asltwoicisiv! lelplsisis! Ish Inigisis My 


Two-LINE ENGLISH ORNAMENTED, No. 1,017. 5 it?s‘. 


BOD 


mae 


WIC 


Gi, eA 


TWwo-LINE SMALL-PICA ORNAMENTED, No. 1,018. 5 t7é'o. 


| PRY 
Four-LINE PicA ORNAMENTED, No. 1,018. 91735 a. 


TWwo-LINE ENGLISH ORNAMENTED, No. 1,019. aie 


Oe IA 


Two-LINE’ PARAGON ORNAMENTED, No. 1,019. 6) dw. 


FouR-LINE PiIcA ORNAMENTED, No. 1,019. 5 n°s4 x. 


Two-LINE BREVIER ORNAMENTED, No. 1,021. 9 it? eur. 


WADE SRAGE PRR, GDUNTRA ETRE 


Two-LINE ENGLISH ORNAMENTED, No. 1,021. 6 iy, 


MYA SABART, SD POUNDS: 


| NONPAREIL ORNAMENTED, No. 1,022. 1010 om 
PROGHBAMAQIONS AND BAWS OF SBSSTONS, © 


BREVIER ORNAMENTED, No. 1,022. o in oiea 


PRUENTRD ROBIRE BRBABWS ALWANACH, © 


Two-LINE BREVIER ORNAMENTED, No. 1,022. 40s on 


EDR OCUW TENE SUCATS | 


| 
Two-LIne LONG-PRIMER, No. 1,022. dane 


OW But QVADBRARS | 


Two-LInE CoLUMBIAN ORNAMENTED, No. 1,023. 73 


} 
| 
j 
' 
. Ihe 023. 9 eto Ok. 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAmBERS-STREET, NEW-YORK. 


104 


STYLES 1,024 AND 1,025. 


Two-LINE NONPARFIL ORNAMENTED, No. 1,024. 9 ih eho, Two-LINE BourGEoIs ORNAMENTED, No. 1,024. ,?2¢,, 


» BEFORE THE YEAR 1719, ONLY IN PHILADELPHIA 
ONE NEWSPAPER IN THE BRITISH 3 


AMERICAN COLONIES. 3 NEWSPAPERS, IN 1760 


TWO0-LINE GREAT-PRIMER ORNAMENTED, No. 1,024. 34, 
TWO-LINE PIcA ORNAMENTED, No. 1,024. ,}°A,, 


| 
1GERMAN PAPER | Ce & 
POR: LINE PicA ORNAMENTED, No. 1,024. aan oes 
Two-LINE NONPAREIL ORNAMENTED, No. 1,025. 2 i? 5\uz Two-LInE BouRGEOIS ORNAMENTED, No. 1,025. ; 37... 


M. 


TWO-LINE GREAT-PRIMER ORNAMENTED, NO. 1,025. io doz. 


AND. BRADFoRD, 1721 J+# COPSON, I7 al 
SIGN OF THE BIBLE, eee | 


Four-Line PicA ORNAMENTED, No. 1,025. Bi Pab ee FRON T 


TEN-LINE PICA ORNAMENTED, No. 1,025. os .PAu. 


| * KIGHT-LINE PicA ORNAMENTED, No. 1,025. as 44ce 
: A 
| [ 


GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 
105 


AMERICAN WEEKLY MERCURY, DEC., 1719, 10 SHILLINGS PER ANNU 
FIRST NEWSPAPER IN PHILADELPHIA. 


au TSAI OMREEES 5 
: jisti Knee a ‘aide? eee es A inh } Be me aed. Hw ee Sit a 
AIH Rial AD TH qe ri “YIHO eNE waa aHT BE: Ome 


Hay! ; Cnet A Gj ewan. S Reet aarMozos AQIS | 


hiet 


AEE <EUr a wate 


yy ¥ 
ran ATTA MAMA 
a. pis | Bie Dee 


qe 


; 
; Z 
68 1 ae ae en ok ee ee es 


(121 Gisele aaet | OND 290 VAUIAIM TINIIW # 
i ; AIHISIGANHG al AITAISWAR 


ea evant! wh 2RF 


we Itt aaO70Aaa 
,  3f8la FHT 10 


Ke CONC MARE mi: pear ia pat: 


", 
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we 


i 


ie aes f ‘ 
Bes Rey a, ; ! 
* i CAR Gani? 


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arf PA ERE ee elit: i fi , oe 


Bo AIMAVAY2UNA9 SH tail ABBOT 
UW cddaiiive 


eee 


Bonooae a7. asx 


STYES 1,026 AND 1,027. 


Two-LINE NONPAREIL ORNAMENTED, No. 1,026. 9 it? eo. 


UNIVERSAL INSTRUGTOR IN ALL ARTS & 
SCIENCES, NO. 1, DEGEMBER 24, 1728, 


TwoO-LINE PIcA ORNAMENTED, No. 1,026. 4 ih ocr, 


WAS PRINTED BY SAMI 
KEIMER, ON POT FOLIO, 


Four-LINE PICA ORNAMENTED, No. 1,026. 62° 142 


BUYERS INA 


TWo-LINE BOURGEOIS ORNAMENTED, No. 1,026. 5 i?su. 


THE PENNSYLVANIA GAZETTE, 
1728, THE SECOND PAPER. 


Two-LINE GREAT-PRIMER ORNAMENTED, No. 1,026. 7,3 


NOT A HUNDRED 


SIX-LINE PIcA ORNAMENTED, No. 1,026. is 


Two-LInE NONPAREIL ORNAMENTED, No. 1,027. 214. 


BEN, FRANKLIN AND H. MEREDITH BOUGHT 
OUT THE UNIVERSAL INSTRUCTOR IN 1730. 


Two-LINE P1IcA ORNAMENTED, No. 1,027. 5 Ih, 602 


A 100 COPIES SOLD BY 
NEW MANAGEMENT. 


SIX-LINE PICA ORNAMENTED, No. 1,027 Sk We 


ROLLS 


EIGHT-LINE PICA ORNAMENTED, No. 1,027, 05 4.4 


WIFE 


MONTH. 


Two-LinE BouRGEOIS ORNAMENTED, No. 1,027. $1. 


PENNSYLVANIA GAZETTE, PUBLISHED 
AT ONLY 10 SHILLINGS PER ANNUM 


TWo-LINE GREAT-PRIMER ORNAMENTED, No. 1,027. ion, 


{ SHEET CROWN 


FourR-LINE P1cA ORNAMENTED, No. 1,027. sido 


3 PENNIES. 


TEN-LINE PicA ORNAMENTED, No. 1,027. a ape 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


APRIL 19. 


STYLES 1,028 


AND 1,029. 


Two-LINE NONPAREIL ORNAMENTED, No. 1,028. 2 1°,3 


FRANICUEN, POSSUM AS'R, SOLB 


PicA ORNAMENTED, No. 1,028. ae 


rat ‘ ? yy at CON oy bee ayn 


FOouR-LINE 


TWo-LINE 


PIcA ORNAMENTED, NO. 


Two-LINE BOURGEOIS ORNAMENTED, No. 1,028. .~ j°A 
? 5) 5 lb. 2 ¢ 


WZ. 


2 | IF VACUO ON) ID ay, | iwewe 
OA AM ISS FOR £4,688 
TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,028. i3%4., 


AMON, 


1,028. oe 


pA penta oa 
Sy, 


NW OY 


IN L778, 


Tw0-LINE NONPAREIL ORNAMENTED, No. 1,029. . ,1°,3 


SIGNED THE TREATY, IN PARIS, I 1783 


TWO-LINE SMALL-PICA ORNAMENTED, NO. 1,029. 6 he oe 


HE DIED IN YEAR 1790 


TWo-LINE GREAT-PRIMER ORNAMENTED, No. 1,029. 


by, 029. ua i 


4 


RETIRED FINALLY IN 1788. 


l ,029. 10 A 


9 Ib. 


AGE, 80 YEARS. 


TWO-LINE BOURGEOIS ORNAMENTED, NO. 


TWO-LINE ENGLISH ORNAMENTED, NO. 


10 Wb. 1 « 0. 


BENJAMIN MECOM, A PRINTER 


Four-LinE PicA ORNAMENTED, No. 1,029. ion. oc 


SIX-LINE 


PicA ORNAMENTED, No. 


IN PHILADELPHIA, IN 1768. 


FIVE-LINE PicA ORNAMENTED, No. 1,029. 1638-4 


lh, 8 oz 


1 STONE 


1,029. a 


D. HALL....1748 


GEORGE BRUCE’S SON & CO,, 


TypE-FouNDERS, No. 


13 CHAMBERS-STREET, NEW-YORK. 


SS bene a, CES on it ae 


< 
4 
ts f 
wo Pe 
a ‘ P 
£ = Fy * p ¥ 
¢ & = § & ‘ 
© Z . 
‘ , 
‘ 


Phe Po eA 
a > 

aor = ie 

4 “4 C1 2 ere ee 

- 4 os ee ert re -. rin - * * : 
' re .o Uae. « | ok | cy tay tri , “ 

is ti Ao Al YTASAT SHY Ue 

a tat & : 

» e . > « 

' i nf a 
2 Jil WORE Io 


ie 


SORE de 
5 bode UNS 


eH hi? Hie tachi) si 


A 


A 
» 


+ st, taser 


STYLES 1,030 AND 1,031. 


BREVIER ORNAMENTED, No. 1,030. Ears Two-LInE PEARL ORNAMENTED, No. 1,030. 2 irda 
PUREST ULEIGe LS AML CwWIOSNS, TERS PRESS, A POBM:, 


J2 MCCRBBRY, TLEVBREOOL, 1LSOS, 
A SEBCLIMBEY OF CLYSOGRARAY 


cho oo 
LES ORLEGLY AND LVS EESTORE, BE 
An SUARBIE, LOWDORM, BS83.a 


Two-LInE NONPAREIL ORNAMENTED, No. 1,030. 3 i)?o\u2 


aoa WOO Ow ni REPL CG} GIS Sa Two-LINE SMALL-PICA ORNAMENTED, No. 1,030. 5 a4 o. 


A PREP CSeS SRECS SOO, 
GC. SHOW, Ad. Wak GHA Os 


Two-LInp LONG-PRIMER ORNAMENTED, No. 1,051. aia 


BY HENRY COTTON, 1825. 


Two-LInE PicA ORNAMENTED, No. 1,031. ane 


SHRENRETTUNG J GUTTENBERGS 


Two-LINE ENGLISH ORNAMENTED, No. 1,081. 10 Ih. 4 oz, 


THE PRINTERS’ GRAMS 
» te &, i) FA AA ANA VA Aw 
WHY) CPR Sk PLCS VL =—/a\= ae A 
TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,081. Rohe te 
oe ) ) \ 
[TAS Fae "ORI 
) PO PS Neh) ») : 


GEORGE BRUCE’S SON & CO. TypE-FounprERSs, No. 13 CuHambBers-StrEET, NEW-YORK. 
108 


5 
i 


Segara rs = ae. 


STYLES 1,032, 1,033, 1,034 AND 1,035. 


Two-LInE PEARL ORNAMENTED, No. 1,082 ois’, Two-LInE NoNPAREIL ORNAMENTED, No. 1,032. 22544, 


| k TREATISH ON ENGLISH PUNCTUKTION: THR AMEBICKN PRINTER: 
AORN WILSON, 16850. THOMAS WACKELLAR, PHULAD, 1866, 


TWo-LINE BOURGEOIS ORNAMENTED, No. 1,032. rae 


Wer POGRAPHIX. THOS. F. ADAMS, PHILADELPHLS, 1887, 


BREVIER ORNAMENTED, No. 1,033. 2 Ib. 10 on. Two-LINE PEARL ORNAMENTED, No. 1,033. 912%. 


HAIN DBUOCE DAR BUOCRMIDRO Ck aR OIN ST. CAIN IDIBO GE DER BUOCENDIRG Ck iR= 
FRAINKEFURG A Mi. 1827. KUINST., WEIMAR, 1876. 


30 A 


NONPAREIL ORNAMENTED, No. 1,034. wean BREVIEBR ORNAMENTED, No. 1,034. ae 
JOHN GUTENBERG, THE FATHER OF PRINTING. 


| JOHN FUST WAS A PATRON OF THE ART OF PRINTING. 
| 


TWoO-LINE PEARL ORNAMENTED, No. 1,034. Seem 


PETER SCHOEFFER, MENTZ, CUT BUT THREE FACES OF TYPE IN FORTY-FIVE YEARS, 


Two-Line BouRGEOIS ORNAMENTED, No. 1,035. Pas 


LABRENS 


LAUREK Oy 


a Two-LINE LONG-PRIMER ORNAMENTED, No. 1,035. aoe ; | 
HE O10 PRINTER AND MODERN PRESS. 
CHARLES KNIGHT, 184 


: ; Two-LINE PicA ORNAMENTED, No. 1,035, (IRB ee 


dove te 


YS. 


ye Vas, 
Lt 


aa a Te Ob 


Loe, ~ 


STYLES 1,036, 1,037 AND 1,038. 


Two-LiInE NONPAREIL ORNAMENTED, No. 1,036. 5 ihs’n. Two-LInE BouRGEOIS ORNAMENTED, No. 1,036. 437126 J 
ANG SENT 7 Gp Tot SHYVOC TC HSH IFAC ed XE Te we SG 
ANNAN IDR PVIPOGCRAP EONS, ACI SO IE SSC Ie ILO Re eM, 

1695 O71. J iq 
LEIPZIG, 1889. HI IOIO BCs. | 
il 

Two-LINE PicA ORNAMENTED, No. 1,036. nO 


gy (C3 ISO Ve) 3 INCE proc; vi x) 2 Jo 40 Y 0 (C3 
OER GORIRESP ORO, tole? 206 


Two-LINE PEARL ORNAMENTED, No. 1,087.  2°x4 Two-Line NoNnPAREIL ORNAMENTED, No. 1,037. 5 i?don | 
He PRINTER'S MANUAL. TY POGRAPHIA ESPANOILAS | 
A. NL SHERMAN, NEW — YORK, 1834 ew a MAINO Zi, MICA R00) 1796. 


‘ TWwo-LINE SMALL-PICA ORNAMENTED, No. 1,037. ia 
Two-LINE BOURGEOIS ORNAMENTED, No. 1,087. 5th 2: é f a 


THe, BIBLIOMANLA, THE PRINTER 
a 10: S. #, DIBDIN, 1309. NES WA OUR. 


Two-LINE ENGLISH ORNAMENTED, No. 1,037. 


He BOOK HOW TER....1863, 


Two-LINE PEARL ORNAMENTED, No. 1,038. ,7°s,, Two-tinp NONPAREIL ORNAMENTED, No. 1,088. 5 hte 
STORLA ORLA LALCBRATTRA LCALLANA, SPISEE PPEQIITSPIAER’S WEA Ash. 


CIRABOSCHL, MOORWMA, 1793S. €, LYNCH, CLNCINNATL, 1859. | 


Two-LIne LONG-PRIMER ORNAMENTED, No. 1,088. cae 


DE GAERT LON (D3 IO MEPIRTMUSIS, eOwe 


{e0) 


Two-LInE PicA ORNAMENTED, No. 1,038. Bihdo 


LELLOIUS SOPRA LA SRAMPA, 1728 


GEORGE BRUCE’S SON & CO., Typn-FounpERS, No. 13 CHuamBers-StrEET, NEW-YORK, 
110 


STYLES 1,039, 1,040 AND 1,041. 


TwO-LINE NONPAREIL ORNAMENTED, No. 1,089. 210 oz. Two-Line LONG-PRIMER ORNAMENTED, No. 1,039. 15 A 


TYPOGRAPHIA ESPANGLA. DRINTRA'S MA RM ETAL, 
FRANC, MENDEZ, MADRID, 1796. 


SHERMAN, 1834. 


Two-Link PrcA ORNAMENTED, No. 1,039. eine aes 


BHANDBUCH BER BUCHORUCKERKUNST, 1855. 
C. A. FRANKE, WIEMAR, 


NONPAREIL ORNAMENTED, No. 1,040. 1b B02 BREVIER ORNAMENTED, No. 1,040. 20 4 


2 tb. 
A CHRONOLOGY OF PAPER AND PAPERSMAKING. A HISTORY OF THE ART OF PRINTING, &C. 
JOEL MUNSELL, ALBANY. 


Ho No. HUMPHREYS, LONDON. 


TWo-LINE PEARL ORNAMENTED, No. 1,040. 2 3°s' 


2 Ib. 3 07 | TWwo-LINE NONPAREIL ORNAMENTED, No. 1,040. 21) 3., 
PALZZEOGRAPHIA SACRA PICTORIA. LA BIBLIOGRAPHIE GANTOISE. 
| Two-LiInB P1cA ORNAMENTED, No. 1,040. ne ee 
| 


HELVETISGHE TYPOGRAPHIA. 


| 2 = 
| 

|| 

| TWO-LINE PEARL ORNAMENTED, No. 1,041. 2 7°, Two-LINE NONPAREIL ORNAMENTED, ‘No. 1,041. .,2%3.. 
| way § a ORF ID HF OR ATC RP) WW We oR Ae Wy 3 Cl 

ARCHIV FUR BUCHDRUCKERKUNSTY. Zeke PRINZERS GEREGELARP 


Two-LINE BOURGEOIS ORNAMENTED, No. 1,041. 


12 A 
4 lb. 10 02, 


Two-LIne PrcA ORNAMENTED, No. 1,041. tite 


Two-LINE GREAT-PRIMER ORNAMENTED, No. 1,041. LOuE 
Ve lo Vv 
Cc | 
CMC MOY 2 | 9 
> ) G } = »\ A 
Y 2) A @ 


GEORGE BRUCE’S SON & CO., Typr-FounprERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
ibilal 


Bf 


— 


Ho) v a9 mig vil oD wy SAON IM, JROMMSARDST 
a \) LABUG cell AG, Ue en JORG 26th. 


Ua rae $ 


eek hy 7 


Bic ja)\83030089: ie, ip Be 
eSOgh 2UiAD 0 fe nA 


¥ ‘2 


STYLES 1,042, 1,048 AND 1,044. 


Two-LINE BREVIER ORNAMENTED, No. 1,042. 


Two-LINnE ENGLISH ORNAMENTED, No. 1,042. 


rg 


Two-LINE BouRGEOIS ORNAMENTED, No. 1,043. 


BIBLIOGRAPH! Ht JAL GUIDE TO AMERICAN LITE ERATURE, 
N. TRUBNER, Lane 1859. 


Two-LINE LONG-PRIMER ORNAMENTED, No. 1,043. ese Bice 


2RAPHICAL DICTIONARY OF ENGRAVERS! 


JOSEPH STRUTT, 1785. 


Two-LInE PicA ORNAMENTED, No. 1,043. = 
S2 


"JOEL “MUNSELL, 1850 | 


BIOG 


ANY, 


Two-LinE ENGLISH ORNAMENTED, No. 1,048. 


BLIOTHECA } MOGUNTINA, &G, 


WURDTWEIN, 1787. 


BI 


V 


Two-LINE BREVIER ORNAMENTED, No. 1,044. Te, 


BIOGRAPHICAL MEMOIRS OF WILLIAM GED: INCLUDING AN ACCOUNT oF 
HIS PROGRESS IN BLOCK, PRINTING. JOHN NICHOLS, 1781). 


TWwo-LINE LONG-PRIMER ORNAMENTE pv, No. 1,044. 


HISTOIRE ET LES PROCEDES DU POLYTYPAGE ET DE LA 
STEREOTYPIE. PAR A. G. CAMUS, 1802. | 


GEORGE BRUCE’S SON & CO., Typr-FounDERS, NO. 13 CHAMBERS-STREET, NEW-YORK. 
LD 


STYLES 1,045 AND 1,046. _ 


Two-LInE BREVIER ORNAMENTED, No. 1,045. 4b. 
ESSAI BIBLIOGRAPHIQUE SUR LES EDITIONS BES ELZEVIRS, 6. 
AUGUSTE I 


g 
S. L, BERARB, PARIS, 1822. 


Two-LiIne PicA ORNAMENTED, No. 1,045. serie 
e 


5 DER 


Two-LINE BREVIER ORNAMENTED, No. 1,046. eg EY ok 


pce 


Two-LINnE LONG-PRIMER ORNAMENTED, No. 1,046. 
| > 2 (-) 9) } @ 3 hes E Gy >. sAM.  sHCEL TE GO a Y WW 8 YO): 
| ww) ANID A Te ALO AUK L (a (ee od cd 
~~ nnd) FJ POOLS OE 4) wd Oa ) ‘ eS VY & —/ we, er) ee! 2S 
J) LY) Nove) >) WD HK Aw "YY MA X A, {i 


Two-LInE PicA ORNAMENTED, No. 1,046. Pea 


| BESLIG eee | 


SS) Pe Pawan 


CS OM. Kre 
SAD ai 


DICTIONS 
DE LA cal 


AN Ho Ae, 


r Cau J. | v) LVL, 
; ) AN. YO 
‘ ” pA WK ” elie le > 
| dad) 


GEORGE BRUCE’S SON & CO., Typr-FounpErRS, No. 13 CHamBers-StREET, NEW-YORK. 
alics 


STYLE 1,047. 


Two-lInE NONPAREIL ORNAMENTED, No. 1,047. 3°3 Two-LINE BourGEOIS ORNAMEN , No. 1,047. sijcane 


DEI PRIMI MIBRI A STAMPA IN ITALIA. LA TYPOGRAPHI oa PORME. 
-—-FUMAGALLI, LUGANO, 1878. L. PELLETIER, GHNEYVE, 1888. 


, No. 1,047. 


'y. PRIEVEN OP DE UL'YINDING DER DRUEEUNSY 


, No. 1,047. 


PLA 7 = ‘LA TYPOCRAPEIE 


aD 
Ir 
a 


C2 
jee 
"G 

Oo- 


No. 1,047. 


— RAPHICA, 
STRASBOURG, 1811. 


(C 
GEORGE BRUCE’S SON & CO., TypE-FouNDE Rs, No 13 CHAMBERS-STREET, NEW-YORK, 


— 


a we 


STYLE 1,048. 
Two-LINE PEARL ORNAMENTED, No. 1,048. re Two-LInge None AREIL ORNAMENTED, No. 1,048. 
PT aoe Beas ENCYCLOPAEDIA OF LITERARY A 
. Rate D 
AN HISTORICAL SKETCH OF THE ORIGIN AND ay ie A OF LITERARY AN 
PROGRESS OF THE ART OF PRINTING. : TYPOGRAPHICAL ANECDOTE, 
T. ©. HANSARD, LONDON, 1825, | C, tt. TIMPERLEY, 1839, 


TWO-LINE BouRGEOIS ORNAMENTED, No. 1,048. 


THE PRINTER, HIS LAMENTATION, OR 
THE PRESS, OPPREST AND OVERPREST, LONDON, 1660. 


TTWO-LINE PICA ORNAMENTED, No. 1,048. 


ANNUS TERTIUS ARTIS TYPOGRAPHICA. 
J, CH. SEIZIUS, HARLEM, 1742. 


. TWO-LINE) GREAT-PRIMER ORNAMENTED, No. 1,048. 


GENERAL HISTORY OF PRINTING 
MER, LONDON, 1733, 


— a 


8, PrL 


Four-LINE PicA ORNAMENTED, No. 1,048. 


PRINTERS’ CRAMM 
- ¢, STOWER, 1808, 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHamBers-Srrert, NEW-YORK. 
115 


re e-nies 


a ; Ca 
Me & i N = 
if 23 40 
i 
* mt 
‘ 
1 
: ‘ } 
t 
ES Repuy ye” ths a 
0 7. , A * 
‘ pe he 
‘ 
$2 fhlk Fy , 
eS ee ee re ay ‘ 
~ if ¥ 
1 
- " 
oe (i ye x 
ae) ci? % 
a RR Ot ae ae a © _—. : 
' a } a x 1 < 
iy a Sid “ewer 0 ‘ ~ ’ 
‘ 
. 
\ 
va | 
' U a 
\ 
_ . ’ . ent 
a £ ty : 2 a8 
rd <> f 7 ’ ’ 
ee ee ' = 1 . ane = 
» x i 
449 : > 
‘ 7 
Ser | eee 6 ; ar at 
e ms 
1 
. é 
ng ) 
i 
: % - © ar pe A 2 \ 
re J ¢ ; ae: | 
“te 4 ‘ i 
bod 
. ad 4 a bd é af 
oy ; .-< AS y . : , 
, ee a a. Sah ao &. were mee F, % a ax > “hia F 


is | rae, | » ; * == t.% x 


Sine ee ee Sn al te aM Da Ge A ea A eer 


4 Z P : ' 


Sad “eyotas Le 


STYLE 1,049. 


In this Series, the letters A, F, L, T, U, V, W and Y are kerned at the sides, one-twelfth of the body, and are accompanied 
by a space to use when the kern is unnecessary. 


Two-LINE NONPAREIL ORNAMENTED, No. 1,049. 3 ib 8 oz. 


ie 
i 
{ 


y 


=the at ten E>: <r SEScEy 
OWHIZED =. 1see | 
Two-LIné BOURGEOIS ORNAMENTED, No. 1,049. Peery oe 


a at | 
MMM MAY MY AY N 


10 A 
10 Ih. 


\ 


NN 


FOUR-LINE 


GEORGE BRUCE’S SON & CO., Typre-FounpErRs, No. 
116 


4 


STYLE 1,050. 


SHUSTOIRE DE LIMvENTION DE ; CONSPRCTUS 0 oR ale NUM 
VIMPBIMERIE, POUR SERVIER D& DRFENSE A fhe oe 
LA VILLE DE STRASBOURG CONTRE LES TYPOGRAPHICARUM, A MEERMANNO 
PRETENTIONS DE HARLEM. PROXIME IN LUCE EDENDARUM, 
J. F. LICHTENRBRGER, STRASBOURG, 1828. GERARD MERRMAN, HAGAR COM, 1761 


BIBLIOGRAPHIE. 
PALBOGRAPHICO-DIPLOMATICO-BIBLIOLOGIQUE 


sh 


P, NAMUR, LIKGR, 1888, 


a) 


, No. 1,050. 


VRBHANDELING OVER DE UITVINDING 
DBR. BOBKDRUKKUNST. 
W. H. J. VAN WESTREENEN, HAGE, 1809. 


NAMENTED, No. 1,050. 


TYPOGRAPHICAL ANTI 
WM. HBRBBRT, LOND 


r GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
; 117 
. 
ae . 


«4 
_ 
i- 
Maes 
_ 
2 


"te 


STYLE 1,051. 


5 INO 1, 051i eee nants 
Two-LINE NONPAREIL ORNAMEN SINGS ACS, aR? ae 3 Wb. 15 


MANUEL ate ET ABREGE THE ART OF TLLUMINATION 


DE LA TYPOGRAPHIE FRANCAISE. AND MISSAL PAINTING. 
BRUN, PARIS, 1825. HUMPHREYS, LOND., 1849, 


A OR , No. 1,051. 


ANECDOTES OF LITERATURE ‘AND 
SCARCE BOOKS. 
WILLIAM BELOE, LONDON, 1807-12. 


, No. 1,051. 


TYPOGRAPHIA JUBILANS, 
F. €. LESSERN, LEIPZ. 1740. 


» No. 1,051: 


THE FOURTH ESTATE 
HUNT, LONDB., 1350 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


STYLE 1,052 


Two-LinE BouRGEOIS ORNAMENTED, No. 1,052. 


RECHERCHES 


12 A 
2 Ib. 14 0% 


E, BRUXELLES, 1847. 


AMENDS 
ai 4, 1876. 


Two-LINE PicA ORNAMENTED, No. 1,052. 10 4 


5 Ih. 2 07 


“CAS: oi J ‘w ey 


| C YW ES 


TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,052. orate. 


Four-LINE P1cA ORNAMENTED, No. 1,052. cee 


aa 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHamBers-StREET, NEW-YORK. 
TAD 


STYLE 1,053. 


Two-LinE NONPAREIL ORNAMENTED, NO. 1,053. on.s60z. TWwo-LINE BouRGEOIS ORNAMENTED, No. 1,053. sib. Son. | 
aNNaRBs TYPOGRAPHIAR | (‘TE COMPOSITOR'S AND 
AUGUSTAENSE &B RIVS ORICINE PRES@MAN'S GUIDE TO eH 
1466 USQUE &AD ANNUM 1836, Bie ne | 
GEORG. WILHELM ZAPF, ae OF PRINTING. | 


Two-LINE PIcA ORNAMENTED, No. 1,053. 


HEINRICH on pepe &, 1 aah 


TWO0-LINE GREAT-PRIMER ORNAMENTED, No. 1,053. 


CMB Ok WOOD-ENGRAVING.. 
W. & GHATTO, LONDON, 1848 


FouR-LINE PiIcA ORNAMENTED, No. 1,053. 


CHALCOGR & PHIMANIG Ie 
LONDON, 1814. 


GEORGE BRUCE’S SON & CO., TyPE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
120 


a 


STYLES 1,054 AND 1,055. 


TWwo-LINE PICA ORNAMENTED, No. 1,054. tos 


6 lb. 6 oz, 
bf 2ePOLOGit-fU y EeeAES, LBZ3-= 
ENTE 


z D 
May 2, 1876. 


TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,054. 8 


EY FP FO CAIER * 
Ie t } yp 
Ne? NS SOF ON 


Two-LINE BOURGEOIS ORNAMENTED, No. 1,055. anes 


Se TVPOL 
bs : \ | = \ f \ 
j a y) G “Ne 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
121 


GOO) WAHL ono ALE Ts 1 
i 
Hii) wot whee) pord sehen , . se 
View 
Ww , ic’ ft ‘Sas =) T 1 a q te de . “7 
{ t [pore feels | PVT of Ny 
‘ } wl 
: 5 4 : a . ap Ae ‘ ese Oy 
i Ree i 
: L bee Fn A ie ( : 7 ee) at 


: 


’, j 
mt 


i y , ' : ; , \ . 4 \t/a) tf {.) ey ¢ ~ am 
cee | Oi Od & a | anh 1 a) y, ” rat CE 
11 , 7 ae : } . 
\ ‘ ; ww : : ag ‘ A te Noes i 
4 ‘ j : Ws a 


** 


thet ath 1 r ; 


; R ‘ a , a Co eta he. TaN 


AMO 7 | 
Me At sia bial ih La a vt astra iO , ow 


Beh darexuscn0 » wf Pirie 4 4. Biss bileel 
: 3 A 0 Hn 
{ iF f ‘ i, ty AT i, h ; 
ng AU spi ah a tos AS JAAR ATCAAY) JAA A WV 44 
ty yf ~ i , + P 5 ‘ 
' ; ‘ 4 re) a | vie as 
WTA ee JSG A. a A SiMe 10 La 6 Vy. Mei Os Se | 


ab, VL , ALBAA 
(a 


rt. bcd WA; Ad . Ti A J i ; Uwe j h A ny ras a 
Z, .; Ai e EE 
4 > , , 
y ecu hed + 9 thy lu 7 4 A 


i a * fats 7 ra f 
™ Me Aggie s OEY tb 
. 4 ; ot TP. Fs 


MAAR) mixes wi a Tey » : Le | yen | 

oa Vn A 1) wre | THEN? TAL EAH ALLY ML - Tha UM ERECT RET 

i Hoe thai II | had thde ili , 4 } rank | tH) wh Whew 
BOWS WE9 HLA A ee || Fotos TTL) 


4 A WH 4 Wit, Ry? Way A i vis oa 
Ai bs nti le Sa ‘i6l AANAOL ® 


STYLES 1,056 AND 1,057. 


; 
Y ra 10A ' 
TWO-LINE BoURGEOISE ORNAMENTED, No. 1,056. TWO-LINE PICA ORNAMENTED, No. 1,056. 4uS3ce. | 


SILBERMANN, STRASBURG, 1840. " \k RENEE 1 1869, 


L868 


Tw0-LINE GREAT-PRIMER ORNAMENTED, No. 1,056. Bate tities 


QZ any f Ze QW ® BQ IS 2 
ol E X ¢ TT + a * 
FAS oie 
A 4 - g Q 
KAA 
J S 


Two-Line NonPAREIL ORNAMENTED, No. 1,057. 1 h5s4,, 
BIBLIOPEGIA, OR THE ART OF BOOKBINDING, 
IN ALL ITS BRANCHES: WITH ENGRAVINGS, 
JOHN HANNETT, LONDON, 1848, 


TWO0-LINE GREAT-PRIMER ORNAMENTED, NO. 1,057. sn°bo 


THE PRINTING TIMES, 


Tw0-LINE BOURGEOIS ORNAMENTED, No. 1,057. oth d'un | 


TRAITE HISTORIQUE BT PRATIQUE D) 
LA GRAVORE RN BOIS, | 
JEAN By My PAPILLON. PARTS. 1766) 


Two-LInE PicA ORNAMENTED, No. 1,057. gibson. | 


TRAITE DE LA TYPOGRAPHIE: 


LONDON, 1873, FOURNIER, PARIS, 189%) | 


Four-Linr Pica ORNAMENTED, No. 1,057. Bian | 


| TREATING, 0 MOOD-ENGRANING. Ot 
HN JWCHSMS LONDON, 39 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHaMBERs-STREET, NEW-YORK. 
122 


Two-LINE NONPAREIL ORNAMENTED, No. 1,058. ,.254,,. TWO0-LINE BOURGEOIS ORNAMENTED, No. 1,058. A 
POCKET TYPOSRAPHIA. A BRIEF ANNALES DE LA TYPOGRAPHIE 
PRACTICAL GUIDE 18 THE ART OF PRINTING. FRANGAISE ET ETRANGERE. 
___ * TRUMBULL, ALBARY, 1848. | AINE ALKAN, PARIS, 1847. 


DISCRIPTION D'UNE NOUVELLE PRESSE EXECUTEE 
POUR LE SERVICE DU ROL PARIS, 178%. 


BUIDE PRATIQUE DE COMPOSITEUR 
V IMPRINERIE. 
THEOTISTE LEFEVRE, PARIS, 1872 


LA SCIENCE PRACTIOUE DE 
_-VIMPRIMERIE. 
FERTEL, ST. OMER, 1723 


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STYLE 1,059. 


Two-LINE NoNPAREIL ORNAMENTED, No. 1,059. 3°, 


 ~*BIERRE FP. BASAM, BARIS, 1727. 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
124 


STYLE 1,060. 


Two-LINE NONPAREIL ORNAMENTED, No. 1,060. 14 Two-LInE BouRGEOIS ORNAMENTED, No. 1,060. 124 
IMPRIMERIE, EDITIONS TYPOGRAPHES 
DE BIBLIOPHILES. KT GENS DE LETIRES. 
. AOVAST, PARIS, WP rE < , 
D. JOUAST, PARIS, 1872. PARIS, 1864. 


TWO-LINE PicA ORNAMENTED, No. 1,060. 


MANUEL DE WIMPRIME UR. 


A. DE GERNOVAL, PARIS, 1826. 


SS 


Two-LINE GREAT-PRIMER ORNAMENTED, No. 1,060. 


AREOPAGITICA. 
J. MILTON, LOND. 1644. 


FOUuUR-LINE PICA ORNAMENTED, No. 1,060. 


4 a atiaey 1874. 


GEORGE BRUCE’S SON & CO., Type-FounpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
124! 


- & os or 


LATTA AC eye Te ALTO Lah 
Hey eLarkhe  - ever Sta Vee 


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Two 5 NON EIL ORNAMEN SIN. JAMail, Two-LINE BOURGEOIS S ORNAMENTED, No. 1,061. 14) } 


TRAPTE PRAYIORE COMPEEY om T¥POGRAPH, O8 BOOK 
WEMPRESSION PHOPOGRAPHMEE G9) ar guerra 


ABK ENCRES GRASSES, 
L. MOOEK, PARES, 4874, ©. H. HARBPEL, 4876. 


, No. 1,061. 


TH EEFERENG BEE RUCHDRECKIE: 
KUNST XG BEBE TORGEN, 
Ck, SCHARABE, RIEPHIG, 1840, 


TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,061. 


HANDBY-BOGK ABOWE BOOKS, 
}. PAWARE, LONDON, 4876. 


, No. 1,061. 


PRESSMAN § BIDE, 
BROGKEL EN, 4873, 


GEORGE BRUCE’S SON & CO., Typr-FounpDERS, No. 13 CHAMBERS-ST 


REET, NEW-YORK. 
124? 


STYLE 1,062. 


BD NOs 062i 


SSAl HISTORIQUE ET ORI 


pd, No. 1,062. 1° 


THE SEWSPAPER PRESS: ITS 


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JAMES GRANT, LONDON, 1971-72. 


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AND PRESENT POsITion. &.% 


, No. 1,062. 


M. J. J: MARQEL, ALEXANORIE, 1798. 


No. 1,062. 


Bua 


ED, No. 1,062. 


No. 13 CHAMBERS-STR 


GEORGE BRUCE’S SON 


EET, NEW-YORK. 


& CO., TypE-FOUNDERS, 


1243 


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STYLE 1,063. 


Two-rinr NonParert ORNAMENTED, No. 1,063. 14 Two-LInp BouRGEOIS ORNAMENTED, No. 1,063. 14 | 
WMOWUMERNY DH YU, OU fuk AR EXPLANARION GP 
PLUS ANGIRNNEA INSERIPNON PE = = PLPWMENPARY CHARAQTER: 

BAe OF THE GHIMESR. 
408. WAGER, PARIS, 1805. | 7, RCER, LONDON, 180m 


E Pica ORN , No. 1,063. 


BESSER ‘ENTERRIGHT 
VOR DER SIWVESER SGHRIPPF UD DRuOk 
AD. WULLEAR, BERMIA, 1680. 


ED, No. 1,063. 


MUSH SiNIGEM, 
PS. BAEER, PRTROPORI, 130, 


GEORGE BRUCE’S SON & CO., Typré-FouNnpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
1244 


STYLE 1,064. 


TWO-LINE PICA ORNAMENTED, No. 1,064. EA 


N MI i 2 Ay “S ye /B\ Hy (eae) Wl a | l 

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ESSENTEY 
Oct. 26, 1880. 


TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,064. pote 


FourR-LINE PIcA ORNAMENTED, No. 1,064. 


GEORGE BRUCE’S SON & CO., TypE-FouNpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
od 
1246 


x 


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NONPAREIL ORNAMENTED, No. 1,065. we BREVIER ORNAMENTED, No. 1,065. 
MEMORARDA, GRIEFLY CORGCERRIRG CARLY | A LBISG OR MEDALS, JEGGORS, GORERS, 8G. 
PRIRGED BOOKS ARD MRARUSCRIPGS, ARD GRE OLDER | IR GORREGGION WIGR PRIRGERS & PRIRGIN 


LIGERHGURE OF RAGIORS. 
RERRY BRADSRAD, CAMBRIDGE, 1885, 


OIEETAR BLADES, LORDOR, 1889. 


By ad Two-LINE NONPAREIL ORNAMENTED, No. 1,065. @*) 
TWo-LINE PEARL ORNAMENTED, No. 1,065. 


GRE INVERSION OF PHPER  GHRGIBLE GYPOGRHPRY, OF 
ARD GRE IRVERGION OR PRIRGING. ROU GRE BIRD REAP. 
RERRY RALLAMW, LORDO, 1852. &.G. JORRSOR, LORDOR, 18am 


Two-LINE BOURGEOIS ORNAMENTED, No. 1,065. 


JOURRALISS 
IR GRE AURIGED SGHGts EKROM 1690 60 (872 
FREDERICK RUPSOR, Rad+4ORk, 18¢3. 


Two-LIngE PIcA ORNAMENTED, No. 1,065. 


HIROY Yt Ais RECOLLEGGIONS OF 
Ak ObD BOORStLBEGK. 


TWo-LINE GREAT-PRIMER ORNAMENTED, No. 1,065. 


PRIRGERS ASSISGANG. © 
WS. SAGRAGR, LOR, 1808. 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
1246 


STYLE, 1,066. 


Two-LINE PEARL ORNAMENTED, No. 1,066. aoce 


ACCOUNT OF THE MATHOD OW 


Two-LINE NONPAREIL ORNAMENTED, No. 1,066. 1° 4 

ANNALIUM TYPOGRAPH 

Y. Ob. Wt ICHA HIALBS; Are PAIR it 
SUE PLR RN 


WMICHARL DENNIS, VIENNA, 1789. 


qe VTE ENT DY 
May 17, 1881. 
X Ta 


GHARLAS BRIGHTLY, BUNGAY, 1809, | 


TW0-LINE BOURGEOIS ORNAMENTED, No. 1,066. ue 


ANNALES DE LA UYPOGRAPHIE NEEBLANDAISE AU 
AV* SURGLE 
MW. B.A. G. CAMPBELL, LA HAYS, 1874. 


Two-LINE PICA ORNAMENTED, No. 1,066. 


AMBRIGAN VBXI-BOOK OF L 
MN. DEARBORN, & 


RNY fan NI >) IRS. 
BOSTON, 1846. 


TWo-LINE GREAT-PRIMER ORNAMENTED, No. 1,066. 


BA 


(EBER BUCHEE-COBRROTUR, 
AL, LION, GOURIVGAN, 1882, 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


1247 


Pte WRITE. oe. “DAL Tid posal FMR A IT eg seth 
— 3 
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Le ne Ae Cott eee ea ity aaa 


j TA Ya A CSSLPOANT BA GaToarere t ait 
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2 Amor SAS ct ARIUS AVE e 


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BELLAS ~ ey 
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STYLE, 1,067. 


Two-LINE BOURGEOIS NAMENTED, No. 1,067. foe 
A BRIEEE TREATISE CONCERNING THE REGULATING OF 


TTT 
Mi ae 


ee 


GEORGE BRUCE’S SON & CO., TypE-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
1248 


cae 

> ie 

| 

f ; STYLE, 1,068. 

i a 


Two-LIne PEARL ORNAMENTED, No. 1,068. °° Two-tixe Nonpareit ORNAMENTED, No. 1,068. 4 
CERDI STORICI SULL’ ARTE TIPOGRAFICA. ESSAI DE BIBLIOGRAPHIE YPROIS. 
GIOVARRI MARCHIGIAN, | ALPHONSE DIEGERICK, 
LORIGO, 1850. | YPRES, 1873. 


Two-LINE PIcA ORNAMENTED, No.1,068. 
Two-tinn BourGHOIS ORNAMENTED, No. 1,068. 124 


| : ‘ ey DOTTER GDC , 

FREITE DE LITHOGRAPHIE, = P (} LIGRAP H ICE. 

F. TUDOT, WILLIAM SALMON, 
PARIS, 1834. LORDOR, 1701. 


TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,068. 


VERT DE LA LITHOGRAPHIE. 


DENEFELDER, PARIS, 1819. 


Four-LINE PicA ORNAMENTED, No. 1,068. 


DIE GAIL VSIROGRAPHIE, 
KOHELL, MURCHER, 1846. 


— 


GEORGE BRUCE’S SON & CO., Typr-FounpDERSs, No. 13 CHAMBERS-STREET, NEW-YORK. 
1249 


my | ” 


a j , - _ - > a > 
i. ih W Aer aie Al "wn 4 FASE A 1 


LRM oleae 


a 


STYLES 1,069 anp 1,070. 


ee 


i 

' 

Two-LinE NONPAREIL ORNAMENTED, No. 1,069. 4) 
. } 


NOTICE SUR LIMPRIMERIE XWEVERS. (kG J ART OF ETCHING ON COPPER 
P. BEGET, NEVERS, 1864. ‘| | &. ESHLEY, LONDON, 1849. 


Two-Linr PEARL ORNAMENTED, No. 1,069. ae 


INTED, No. 1,069. 


SULLE VICENDE DELLA TYPOGRAPHIA COSENTINA. - 
A. LOMBARDI, COSENZK, 1816. 


ENTED, No. 1,069. 


D. ALONNIER, PARIS, 1964. 
TYPOGRAPHES ET GENS ‘DE LETTRES: 


TENTED, No. “1,069. 


DAS BUCHDRUCKER- WAPPEN 
BRK K ih, ARMS TAUT, 163. 


E Bou TED, No. 1,070. 


enon POUR LA ‘COMPOSITION pu. GREG. 
T. LEFEVRE, PARIS, 1847. 


ENTED, No. 1,070. 


STENOGRAPHIE EN TACHYGRAP HIE. 
I. d. LION, 'SGRAVENHAGE, 184, 


PRIMER ORNAMENTED, No. 1,070. 


LITHOGRAPHY, 
H. BANKES, alder 1813. 


GEORGE BRUCE’S SON & CO., Typx-Fou pERS, No. 13 CHAMBERS- STREET, NEW-YORK. 
12410 


‘ 
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a 
-* 
7 


| HQUIDE ¢ POs 2? VPOaE eee 
B BBADNZLL, LONDON, | 


DIE SCHRIFTCIESSERES. 


BINGER, AMSTERDAM, 18: 


STYLES 1,071 anv 1,072. 


A, V, W and Y in this series are kerned at the sides one-twelfth of the body, and are accompanied by a space to use where the kern is unnecessary 


TWo-LINE NONPAREIL ORNAMENTED, No. 1,071. *° * 


12A 


Two-Line NoNPAREIL ORNAMENTED, No. 1,072. sian. Two-LINnE BoURGEOIS ORNAMENTED, No. 1,072. 4 


ARS PICTORIA. 
BROWNE, LON.1675 


Two-LINE PIcA ORNAMENTED, No. 1,072. 10 A 


GLYPHOGRAPHIE. 


J. Hi. BACHMANN, tae. 


5 Ih. 


TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,072. 


ARS TYPOCRAPHIAE. 


BOLT, HARLEM, 17 


6) cow 
6. 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
1241 


Win 
: Pr, aie i’ itis - 


b ? =s 9 


STYLE, 1,073. 


A, lL, V, W and Y, in this series, are kerned at the sides one-twelfth of the body, and are accompanied by a space to use where the kern is unnecessary. 


Two-LInE NONPAREIL ORNAMENTED, No. 1,073. ay 


PRINTS ILLUSTRATIVE OF THE HISTORY OF ENGRAVING 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
12412 


DOUBLE GREAT-PRIMER TiINT-GrouND, No. 3. 2 Ib. 4 oz. 


82 83 84 85 
ENN ae a Po z 


| Dous.te GREAT-PRIMER TinT-GRouND, No. 4. 2 Ib. 4 oz. ae Ib. 4 oz 
91 92 93 94. 34 95 96 97 98 
e} (¢ 
| BRR ON 4 
| Bey Vave See / @ 
Fy ae iS «a 
Rist RK OR ) 
Sh 


DouBLE GREAT-PRIMER TINT-GrounpD, No. 6. 2 Ib. 4 oz. 
99 100 101 102 103 104. 
@eecesceceoe  cedcce e009 a5 CR Ser aees 
| | a 
Hie \ Ne 
Ka 
Beeeccescccs  secces e898 Suir” 


mnnnannnesene Heeeeeesegseoeee 


NTRODUCED ) __ IN CONSTANTINOPLE, 


sn BAIAIET | I, ) | 


PRINTING AT MACAO, f 
IN CHINA IN THE YEAR i590. =i 


Poe See Ue ae SS aD yay 
ie RINTING IN GOA, F 
INDIA, 4563. 


ERAN te & le 3 ty = T; ls les: 


ae C46) con 5 


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25 
GOA 


if 


WAS LIGHT.” | 
ce 4(i a es ; iS 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHamBers-Street, NEW-YORK. 
12415 


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12452 


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Memory, « 


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ger. GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHampBers-Srreet, NEW-YORK. 
a " ie 12434 “) Te re. > 


TIA Maa 


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STYLE 1,490. 


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Dousip PicA ORNAMENTED, No. 1,490. ewaiers 
sie aug le 


rw) 


Will 


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Sqn ain il na i Ho 


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GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHamBers-STREET, NEW-YORK. 
124% 


STYLE 1,490. 


GSO Casa ae 
ibsaMt T 
Ti 


il | Pp many 
BiB | 
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RO AIAL LHS NH AG 2a 
gcd ea hla barag fd if TH 
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51 62) 53.54.55 650 57 58 59 


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GEORGE BRUCE’S SON & CO., Typn-FounpERs, No. 13 CuamBers-StREET, NEW-YORK. 
125 


is 


STYLE 1,491. 


coy oo 
cA) NS LA Gs oe) al Fr 
LTT cnuthyy ay TTT | 
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HOEFFER 1p 


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DOUBLE GREAT-PRIMER ORNAMENTED, NO. 1,491. 


WIJKOMN 


GEORGE BRUCE’S SON & CO., Type-FounDERS, No 13 CHAMBERS-STREET, NEW-YORK. 
126 


STYLES 1,500 AND 1,501. 


BREVIER ORNAMENTED, No. 1,500. po grand Doe 
ssais sur ws WHomumments WyPoscrabpDmiames ace GF. Gutvemberg, 


UmySmicwmr Ge LatwawprimnSerics 
| GSOtcm CPlietrshos iM LMU SS Sree SOF MAY AALS 


DEAL Sig USOe. 


LONG-PRIMER ORNAMENTED, No. 1,500. Pn ae 
ANU Scrmaesimes CihnSsorst. Lraetht’seh®es WYoesrtsriowmcein 
Ger 1BMmeMdlremelseeserey wine HPemristtgqressereyec 
Co Oo CHP ANRLEOSTEB THI WITHA AY AY, 28308. 


GREAT-PRIMER ORNAMENTED, No. 1,501. ERE ae 
Urspru Fe Wachsthum und 
Bostgang de: £ Recwee en 


DouBLE SMALL-PICA ORNAMENTED, No. 1,501. Sa ates 
; fListoire de “l*imprimerie 
e@ des Avis qui se rattachent a la Typographie. 
©) % Mm eee Po 
LA GROLX, Fournier et Sere, 1852. 
DousBLe ENGLISH ORNAMENTED, No. 1,501. AY Ee 


ag» mz 


) An £ssay on the Origin 
and Progress of ae Printing. 


LIS 


| A. HODG GSOW, Newcastle, 1820. 


DoUBLE GREAT-PRIMER ORNAMENTED, No. 1,501. 


mandbuch der Schrifttqiesserei, 
A. HENZE, 1844. 


a 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
127 


‘Girne Doge 


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2 , i? 
Peele a Kor 
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favtiodt 4g 


STYLES 1,502, 1,503 AND 1,504. 


Pica ORNAMENTED, No. 1,502. ieee 
The Printers’ Manual: containing Instructions te learners, . 
With Scales of Impositic eee and Numerous Calculations, Recipes, &é. 


‘. B. PIMPERLEY, LONDON, 1838. 


GRBEAT-PRIMER ORNAMENTED, No. 1,502. LENS 


Memoria Biblisgratica sulla | 
Scoperta @una ediziene Gel Son een del $8cele oY, 
A. MARSAN ST, VRNEAIA, 1825. 


DousLE PicA ORNAMENTED, No. 1,503. aa Neer tee 
rd a 


Soecimen Historicum Tupographice Romane, XV. Seculi 
PB LAIR, ROMA, MDCCLAXVIL, 


GREAT-PRIMER ORNAMENTED, No. 1,504. De 
2 ) 6 lb. 14 02, 


Brachygraphy, or An Easy and Compendious Systery of Shorthand, 
J, GURNEY, LONDON, 1825. 7 


DouBLE SMALL-PICA ORNAMENTED, No. 1,504. aT ib 6 0 


The Pens Dexterity; er the Art of Writing Shorthal 
J. Rich, LONDON, 1654. 


DousLe ENGiIisH ORNAMENTED, No. 1,504. “Bik 14 ox. 


fachygraphy, or the Art of Short Writing 
T. SHELTON, LONDON, 1655. 7 


GEORGE BRUCE’S SON & CO., TypE-FounprrRs, No. 13 CHamBeErs-StrEET, NEW-YORK. 
128 


STYLES 1,505 AND 1,506. 


DOUBLE SMALL-PICA ORNAMENTED, No. 1,505. Se ae 


Essai SUR L“ORIGINE DE LA GRAVURE EN TAILLE- DOUCE ET SUR LA ‘CONNOISSANCE 
DES ESTAMPES DewelowET. 16 STECLES. 
Gy 9) 220K Day NE HGR Days DOG DA DG VP DESCX 
CHEN ORCIEE PRIN ES ORNS ER ER ORIEL SS 1808. 


History, ‘ORIGIN AND 


FIRST INVENTION Ree 
FEV SREP PVPiCHAO RACK 
HENRY ALE MOIN CORENBAR 1797 
DouBLE GREAT-PRIMER ORNAMENTED, No. 1,505. Prec aaieas 


i DISSERTATION SUR L* ‘ORIGINE ET LES PROGRES DE LA 
DE GRAVER EN Bois, 


5 


RT 


& 


aS 


Pens eee irs GNECPRBT RS. 
BROURNTERSCESEONES PARIS) 2 1758 


cal 2 Sei) &) (QE? we € ry CYs( (5 


PicA ORNAMENTED, No. 1,506. So Mend 1b) A GREAT-PRIMER ORNAMENTED, No. 1,506. 7° *@ni?? 4 


iigine e Progressi della Stampa, osia del! Arte Essai Bibliosgraphique sur les adittons 
- 
| Imrpressoria all’ anno 1500. | des Elzevirs., 

- PELLEG. ANT. ORLANDI, BONON, 1722 | AUG. S. b. BERARD, PARIS, 1822. 


| 
i 


DouBLE PICA ORNAMENTED, No. 1,506. 


Hl A Dissertation, Concerning the Oriéua of Printing i in 1 Engl and, 
CONYERS MIDDLETON, CAMBRIBGE, i730. 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No, 13 CHamBers-STREET, NEW-YORK. 
129 


neh 


abhi 


¥ 


¥ 
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> 
oe 
a 
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STYLES 1,507 AND 1,508. 
1 


Pica ORNAMENTED, No. 1,507. oe oak | GREAT-PRIMER ORNAMENTED, No. 1,507. 734," naa 4 
Histoire de la gravare en maniére noire. Mistoue de I’ (mprimerie. | 
LEON DE LA BORDE, PARIS, 1839. P. DUPONT, PARIS, 1654) 


DousLe Pica ORNAMENTED, No. 1,507. ee aa He pe 


NONPAREIL ORNAMENTED, No. 1,508. sence | LoNG-PRIMER ORNAMENTED, No. 1,508. 40 « and 20 
RESKARCHES INTO CE HISTORY OF PLAYING ARDS, thastorka, Poy-pedrenp hore albeperot PAaFESLONS UL 


WITH TLLESTRATVONS OF THE ORTGIN OF 
PRINTING AND ENGRAVING ON WOOD, | 
SW, SINGER, MDCGO¥E, 


Vitas of tetbres Complectens, 
MICHAEL: MAPELAERE, TTL, 
( 


PrcA ORNAMENTED, No. 1,508. Se Gai 
iiummated Ovnaments, selected from Manuscripts and Rarkhy Pxpated Books 
HENRY SHAW, LONDON, 1833, | 


PARAGON ORNAMENTED, NO. 1,508. ab sane : 
Annales ‘Typographici ab axtis iavoutan origine ad cH LEE 


1500. GEORGE Wot GANGE PANAHR, IT97. 


DovusLe PicA ORNAMENTED, No. 1,508. ak rar is 


Incunabua Lets Typodraphtea Syed 
J. EL. SCHRODER, 1842, § 


GEORGE. BRUCE’S SON & CO., Typn-FounpErs, No. 13 Cuampers-Srreer, NEW-YORK. — vig 
. 130 ¥ fe ; | 


STYLES 1,509 AND 1,510. 


PicA ORNAMENTED, No. 1,509. : meee onic 
qm , a a deiwapmsaca cane WPWetedmea dea Pimuwien 

ANALYSE deg Opimions diverges sue Origine de Vizprimerie, 

30 a and 1 4 

8 lb 
Th. Qo 
HAPOPe, GG. 
PARAGON ORNAMENTED, No. 1,509. Ccenielaes 


ps Wl A 


Recheze ees | estab sux leg 


J. 8. BO 


Cl ws LF y on. 


DousBLe PicA ORNAMENTED, No. 1,509. rt at a 


Jo a a perce cant HAD OM CRU, 


wo 


DouBLE SMALL-PICA ORNAMENTED, No. 1,510. Srinath 


Gn the various Applications of Anastatic Printing. 


SN 


P.H. DE LA MOTTE, LONDON, 1849. 


| DouBLE GREAT-PRIMER ORNAMENTED, No. 1,510. eee dicate 
; 9 
A? au ‘emt of the Art of Printing WE. 


A ) ad A VE OP OR Ne d LQ L 
WILLIAM SAVAGE. LONDON, 1841. 


GEORGE BRUCE’S SON & CO., TypE-FounpreRS, No, 13 CHAMBERS-STREET, NEW-YORK. 
131 


4 


J , eet eS 


A en oiiey a 


4 int aM 


of H ie, hat 


e i pat 
A ere 


STYLES 1,511 AND 1,512. 


‘ VE P1a Or No 15110 Gam Paragox Onwawenren, No. 1511. "2.84 | 
ce es Les PINTER hee us. e { short rrethe i the ist Rise and Pronrel i 
quantal He He ‘ vite n Job Printing byinting, With a compleat List of the first Books the 
FRANCIS HART & CO,, 63 Cortlandt-Styeet, NEW-YORK, 186g, Were Printed, J, PARKER, oe 1753, | 


The Oyiginal and Growth if Can ting, ey | s ve Demonstrated hat hatha : 
Appeytaineth to the Prerogative Royal: and is a Flower of the Crown of England, Collecte 
Out of History and the Records of this Kingdome. RICHARD ATKYNS, London, 1664, 


reD, No. 1,511. 


An Historical tect f the Silstanes Which have hh Used 
Jo descyibe Events and to Convey Ideas from the Eayliest Date to the 
invention of Paper, MATTHIAS KOOPS, London, 1800. 


NONPAREIL ORNAMEN , No. 1,512 a. BREVIER ORNAMENTED, No. 1,512. °U3 ete 
Inquiry into the Mature and Form of the Books of the Ancients, Jugement de tout ce qui a été imprimé contre 
mAh @ Histor OF She tio Beck SNeeet en ie le Cardinal Mazarin, depuis le 6 janvier 
Times of the Greeks and) Romans to the Fs ® tea 
Diaseiueaes ARS jusqu’ 4 la Declaration du premier Avril 1649. Le 
JOHN ANDREWS ARNE 7 LONDON, 1837. GABRIEL NAUDE, PARIS. ae 

f ‘ . 
| GREAT-PRIMER ORNAM , No. 1,512 ua 
PICA ORNAMEN , No " il 512. SO: afer ue A j 

wi aa "Typographill | 
Eloge Historique a as J. Guttenberg, _ GUIL. MOLLERI, na 

J. F, NEE, de la Rochelle, 
1) 
PARIS, 1841. Altorfii, 1692. 


DouBLE PicA ORNA TED, No. 1,512. 


Debut de rleprimarte a Strasbourg, 8c. 
LEON DE LA BORDE, PARIS, 1840. 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHamBers-STREET, NEW-YORK. 
132 


STYLE 1,513. 


Pica ORN NO: old: 


A, Concise ee of the Origin and 


Progress of Printing; with Practical Instructions to the Trade in General. 


PARAGON ORNAM NO elo. 


a ore sik une fallzctio d eEstampes, 


DouBLE PICA ORNAY eNO wa olla, 


The History of Printing i im i meriog 


: THOMAS, WORCESTER, Mass. 1810 


ORNAME , No. 1,513. 


De Inventione Lypog besphial 


J. SAUBERTUS, 1643. 


UN Ose l sco ltese 


Laudes Typographic 
oe ELC ie 1740 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No, 13 CHAMBERS-STREET, NEW-YORK. 
135 


wl Sis Wi di a Reretaaee se yb 
20 . y ed 


ia i” - i. # - 
ani ole be oe 2 hao ne. 


| Spi’ 


si eaieenc 


STYLE 1,514. 


Raye Pica ORNAMENTED, No. 1,514. ana 
Mechanick Exercises; or the Doctrine of HMandy-works, applied 

to the Art of Printing. | 
JOSEPH MOXON, LONDON, 4683. 


COLUMBIAN ORNAMENTED, No. 1,514. 


Conjectura Verosimilis de Prima Inventicnl 
Typographiae. 
JOHN TOLAND, LONDON, 1726. 


DouBLE SMALL-PICA ORNAMENTED, No. 1,514. 


Typographical Antiquities, &e 
JOSEPH AMES, LONDON, 1749 


Two-LINE ENGLISH ORNAMENTED, No. 1,514. 


PRINTERS’ GUIDE: : 
CORN. S. VAN WINELE 
NEW-YORK, 1848. 


TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,514. | 


PANTOGRAPHIA, 
‘{Y, LOND. 1799. 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHamBers-Street, NEW-YORK. 
134 


| SPYLEM W515. 


LONG-PRIMER ORNAMENTED, No. 1,515, 29 3,420 4 PicA ORNAMENTED, No. 1,515. 


| | 
Della Prima Origine Della Stampa | Mésnoizes initcerapniaene 
di Venezia, per Opera di | 
Giovanni da Spira, | et Littéraires, 


PELLEGRINI, VENEZIA, 1794, & FF DELANDINE, 1817, 


GREAT-PRIMER ORNAMENTED, No. 1,515 


An Inquiry inte 
| Pocigin and Early History of Engraving» 


W, YOUNG OTTLEY, LONDON, 1816, 


DousiE PICA ORNAMENTED, No. 1,515. 


Origin and Progress of Writing 
TT, ASTLE, LONDON, 1784. 


DouBLE GREAT-PRIMER ORNAMENTED, No. 1,515. 


-Manuale Tipografico. 
G. B, BODONYT, 1818. 


Four-LINE PICA ORNAMENTED, No. 1,515. 


TYPOGRAPHIA 
Johnson, 1824 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHaAMBERS-STREET, NEW-YORK. 
135 


alies s6hg ee “eee 


rd 
aah a « “a 
6 ‘ Acs " - £S- SSsercs 39 “ a eee Be yy 


avin @k. sachanast> a 
Di ll we. ae > | re Sree Ss ar oe > Fest: f >" bars ae i 


\ * 


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, 4 " 
‘ = hie a ee ae | . ~ oe - +e oO 
- i Dine  . « ee <oel et ote i ake z a a) > 


: : , yp aa x a > a atta ope ee eal , 
; ee ee ny age ee m® i 


STYLES 1,516 AND 1,517. 


DouBLe ENGLISH ORNAMENTED, No. 1,516. 


Venezia la prima eutta faorr della Civ ewe sb 
Eisercite Carte della Stampa. 
IT Mo PAIPONT Venezia, £756. 


Pica ORNAMENTED, No. 1,517. 
Art de Pimprimerie 
Librairie, composé 1795, quant aw Mécanisme Typographiaue, 
GUYOFf ‘PIES, PARIS, 1836. 


GREAT-PRIMER ORNAMENTED, No. 1,517. 


ipesratia del Torrentini itn stonaeeh. 


DousBLe PicA ORNAMENTED, No. 1,517. 


Sur les Maladies des Imprimeurs 
A. CHREVY ALELIHR, Paris, 1835 


DouBLE GREAT-PRIMER ORNAMENTED, No. 1,517. 


iphia del see. Xv. 
4A BUS, 1834. 


GEORGE BRUCE’S SON & CO., Type-FounpErs, No, 13 CHAMBERS-STREET, NEW-YORK. 
136 


STYLES 1,518 AND 1,519. 


LONG-PRIMER ORNAMENTED. No. 1,518. “55 2“ PicA ORNAMENTED, No. 1,518. Ape ah 
| Versyeh der Ursprung der Spielkarten, die Court ffand Restored: of the Stydents Assistant in 
Einfiihrung des Leinenpapicrs und den Dufang der THolzsehneider~ Ren ding of Deeds, Charters, Records, ge 
Kunst in Europa zy ebforschen. . oe diiet 
re He, 2) 
1. G. J. BREITHOPE, LEIPZIG, 1782. | ANDREW WHCHT, WT. 
GREAT-PRIMER ORNAMENTED, No. 1,518. Be eae 


Geschichic der Bychdryckerkuysi iy ihrer Episichyng ynd Dyshildung. Lin Denkinal 
zur bierten Sicylar-Eeier der Erfindung der Typographic. 
KARL FALKENSIESN, LEIPZIG, 1820. 


PicA ORNAMENTED. No. 1,519. ce ane 
Mi tanden von J —— Gutter pune verbessert durch P. Schoeffer 


J. K. DAHL, MAINZ, 1832. 


GREAT-PRIMER ORNAMENTED, No. 1,519. ee 
Introduction to the Study of Bibliography, 


| T. H. HORNE, LONDON, : 1814. 


Dousip PIcA ORNAMENTED, No. 1,519. HS eRe 


Manuel N 1 Nouveau 
. A. FREY, PAR tI 


- 8 aand 8 e 
DouBLE GREAT-PRIMER ORNAMENTED, NO. 1,519. Soa 


H 
Traité de l’Imprime erie. 
BER 1 Le Dor eee TET, 
PARIS, 1799. 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
137 


er 


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Tu . Ne ee aoe aioe ETM RAY HAMA SY . 


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. ies ny . bon i he siiy Ge ey Pa pis ye te Prey) aig iy hey weal a le a ‘isk 4 $ 


“tig ‘ vaste 155 metus..0c8 hy fate wi vii fei § oh 
iF Vays r, + 
: MAHAL ir acorn, fil. tag a : 
a LA raha ECE ie RST; Face ee. SPORT aE t x 
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‘> ee . wei ae (Pad AGE | : Mere he Lael 
: } ti i : H {STH ‘at iJ itli til iziity Vigan ve Soa 459 oid 
ewounl 96 pagar. i966: isistislighe qarisid “IANS 
4 i ~ 4 F m~ 4 4 a > “s 
; ; Ped © ria LaiFa tb : il {eit 
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wotioosoer «ok doroh tueaaedsaye grodmotinw oandoh HOY man 
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= tis Ftd, a PE i srt} dy hegss acre ' | 
Ou YlGrnondi te 9 brite od wr sae iomie 


ok tiel WVOGKVOL GAVAOM oe 


| Sit¢uardogy au ap rsoviro lox” 
kre 41. CIAL eR ee 


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STYLES 1,520 AND 1,521. 


GREAT-PRIMER ORNAMENTED, No. 1,520. 25 a and 12 & , 
Origine de Vimprimerie de Paris; Dissertation Historique ot Critique 
A. CHRVILLIER, PARIS, 1694. 


Dousir PIcA ORNAMENTED, No. 1,520. 


DouUBLE GREAT-PRIMER ORNAMENTED, No. 1,520. 


d in ee la be ° Doge 


DouBLE GREAT-PRIMER ORNAMENTED, No. 1,521. i 
oe ees pe IL | iP. ne 
nales de Vimprimerie des “Mace! 


Sr 


PAP nis, 4 Lee 


CANON ORNAMENTED, No. 1,521. 


| 
‘ 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-StREET, NEW-YORK. 
138 


PicA ORNAMENTED, No. 1,522. Sere 


GREAT-PRIMER ORNAMENTED. No. 1.522. 10 a and 10 A 


Mameel de Ic Ty pogruphic 
Pewnte]esise. 
FP. OAPELLE, PARIS, 1526. 


DousLE PICA ORNAMENTED, No. 1,522. Cae 
} y] 12 |b, 


DouUBLE GREAT-PRIMER ORNAMENTED, No. 1,522. ‘Tel 


GEORGE BRUCE’S SON & CO., Typr-FounpEerS, No. 13 CHAMBERsS-SrrerT, NEW-YORK. 
139 


q as aie uF he ; 
= = = ny 


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OE DMA DSRS A CE 


+2 Eso > Te Eee EE 


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PRG Cae ce At Mereierias 1.0"), “ene on 


+ 


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STYLES 1,523 AND 1,524. 


A cetera a 


GREAT-PRIMER ORNAMENTED, NO. 1,523. Oren 


ve; utile aux gens de lettxes et & ceux gui emexcent les dite | 
Panties s de Tie & & Pi ge 
epg: apy ee 3 PRS (Rr 


ase 
eset aiacts ac ie 


Dousie Pica ee eee No. 1,523. Sitar oa 


elie oF ae ea = Ginter i 7 


ya{%) Me 2) 


: ome BRE a. . 


DouBLE GREAT-PRIMER ORNAMENTED, No. 1,523. Taine cx. 


aS oe Comumodis 


2 BOA AC IE} f 
iy ce Se) oe 3 i > 
nie Fe at red oyt ae By) 2h) i m Ste HY Ae oF 


OF 


FIVE-LINE PicA ORNAMENTED, No. 1,524. oe 


Scribbleomanta’ a Sublime F 
LONDON, 


GEORGE BRUCE’S SON & CO., TYPE-FounDERS, No, 13 CHAMBERS-STREET, NEW-YORK. . 
140 


STYLE 1,525. 


PicA ORNAMENTED, No. 1,525. GREAT-PRIMER ORNAMENTED, No. 1,525. 7° 2,204,124 


Annalium Typographor. selecta 


Panegyrica Decamatio, qua Artis 
Typographice Initia Progressus, Nobilitas 


et Utilitas Celebrantur. Quaedam Capita. 
&. RIVINUS, LIPSIAK, 1640. LACKMAN, WAMBURGI, 1740. 


Peatee pour ee 
De Suite au Traité sur VOrigine de lImprimerie. 
P. S. FOURNIER, PARIS, 1761. 


DouBLE GREAT-PRIMER ORNAMENTED, No. 1,5 


De Initiis Tvpographicze Phisiologicis 
Sn pene 
URSTENAU, RINTELLAT, 1740. 


CANON ORNAMENTED, No. 1,5 


De Ortu et I Progressu Rrtis 
. Typographice. 
‘B. peliancanes, 16390. 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
141 


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eitilitods ‘Hint note 

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OLyT || L Woon | OpOt, GAIA) Bu ae 


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; qaasy] /SLS1904, 990 


STYLE 1,526. 


PicA ORNAMENTED, No. 1,526. 80 a and 15 A 
Hsgai Historique gut Origine de l’Imprimerie, ainsi que sux I Histoite de gon 
fitabliggement dang ley Villes, Bour'gs, Monagtétes et autifes endroits de VKurope; aveé la Notice deg Impsian 
qui y ont Exercé cet art Jugsqu’a lan 1500. 
M. de LASERNA-SANTANDER, BRUXELLES, 1805. 


GREAT-PRIMER ORNAMENTED, No. 1,526. eerie 
Memorie Trevigiane sulla Tipografia 
Pel Seéolo XV. pet Servite alla Storia Letteraria e delle Belle Arti d'Italia 


). M. FREDERICI, VENEZIA, 1805. 


DouBLE PICA ORNAMENTED, NO. 1,526. ayn: 
Verhandeling over den 
Oorsprong, Vitvinding en Verbetering det Boekditukkunst. 


J. KONING, HAARLEM, 1810. 


DoUuBLE GREAT-PRIMER ORNAMENTED, No. 1,526. a a 


tistoria Artis Typographice in Marchia. 
G. G. KUSTHAK, BEROLINT, 1746. 


CANON ORNAMENTED, No. 1,526. 13 be 12 on. 


Lezione Sopra la Stampa. 
VERNAZZA, Cagliari, 178 


GEORGE BRUCE’S SON & CO., Typr-FounbDERs, No. 13 CHamBers-StREET, NEW-YORK. 
142 


CI ne SE 


STYLE 1,527. 


PicA ORNAMENTED, No. 1,527. 80 a and 15 A 


Origine de VImprimerie, dapres les Titres authentigues; UOpinion de Mr. Daunou 
¢ éelle de Mr. Van Praet; suivie des Htablissements de éet art dans la Belgigue, et de U Histoire 
de la Stéréotypie,; Ornée de Calgues, de Portraits et d’Héussons. 

P, LTAMBINET, PBPPIS 1810. 


| ASENED 
March 6, 1877. 


GREAT-PRIMER ORNAMENTED, No. 1,527. ab a end ee 
Lettre aux rédacteurs de la Galerie deg éontemporaings 
Wr la Nééessité de Pectifier VAtiLe Conéernant Mr. Jacques Koning. 


4. eval LA HAYH, 18109. 


Se 


DousBLE PIcA ORNAMENTED, No. 1,527. SEO 


Religuien von der Dre ee 
Vyd Ubrisen Ober sichsischen Buchdrucher-Histor te. 
CP. FRYVBYRG, PRHSSDHN, 1741 


DouUBLE GREAT-PRIMER ORNAMENTED, No. 1,527. poland 6s 


™e IMuminated Books of the Middle Aeses. 
BUMPHRHYS, LONDON, 1849. 


CANON ORNAMENTED, No. 1,527. Sa 


De Hebraicwe Typosraphix. 
DH ROSSL HR LA, 1778. 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHamBers-StrEET, NEW-YORK. 
143 


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PicA ORNAMENTED, No. 1,528. 


Bissertation sur Art toner SEs eK. pendant le XV. et ie xv sive 
&. H. M. GELPRAT, UTRECHT, 1820. | 


GREAT-PRIMER ORNAMBE , No. 1,528. 


Be henna Artis eons a Inventoribus Biecertati 
M. Z. BEXHGRN, LUGE. BATAV. 1648. 


E Pic , No. 1,528. 


Brittes Jubel- fone ‘den Suchdraolerieill 
W. J. J. SCLESSEN, GETHA, 1740, 


, No. 1,528. 


Sricines Typographicae. 
GERAREGE MEERMAN, Has. 1786 


FourR-LINE PICA ORNAMENTED, No. 1,528. 


Bes Brevets iimprimeu 
CRAPHLET, Paris, 1840, 


GEORGE BRUCE'S SON & CO., TypE-FouNDERS, No, 13 CHAMBERS-STREET, NEW-YORK. p 
3 =. | 


144 


STYLE 1,529 


GREAT-PRIMER ORNAMENTED, No. 1,529 
Notizia Istoriche sopra la Stamperia di Tripoli, 
Le quali possano servire all’ [llustrazione della storia Typographica Florentina. 
G. TIRABOSCHI, FIRENZE, 1781. 


DouBLE PICA ORNAMENTED, No. 1,5 


Origine ¢ Progressi della Brit 0 sid iell’ 
Arte Impressoria e Notizie dell’ opere Stampate dall’ anno 1457. 
P. A. ORLAND!, BONONIAE, 1722. 


DouUBLE GREAT-PRIMER ORNAMENTED, No. 1,52 


Osservazioni sulla Chirotipografia, 
Ossia Antica Arte di Stampare a mano...Opera di 
D. VINCENZO REQUENO, ROMA, 1810. 


CANON ORNAMENTED, No. 1,58 


Cw iC 


—s Saggio di WV lemorie su 
La Tipografia Parmense del $. 
J. AFFO, PARMA, 1791. 


GEORGE BRUCE’S SON & CO., Typr-FounpErS, No. 13 CHAMBERS-STREET, NEW-YORK. 
145 


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DousLE PicA ORNAMEN , No. 1,530. 


Notice guraiilagigna et Raisonnde 
Bes Livres avee et sans Date, Imprimés avant tot 


m. . VISSER, Paris, ies. 


DouBLE GREAT- [FR ORNAMENTED, No. 1,530. 


Tresor de bivees Precious 


Neuveau Dietionnaire Bibliegr graphiqui 


G ‘RABSSE, f Uresden, 1853-63. 


N ORNAME , No. 1,530. 


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GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
| 


STYLE 1,531. 


GREAT-PRIMER ORNAMENTED, No. 1,531. ops and 12 A 
Reshersiss sur loriging st ls premisr usages des anes 
Des Signatures, des Reslames st dss Chilirss de pags dans les Livess Imprimés. 


MAGNS BS MARDLLES, PARIS, 1782. 


DouBLE PicA ORNAMENTED, No. 1,531. 


Typographical Marks, used in ‘Barrssting Proof, 
Bxplainsd and Bxsmolifisd; for ths uss of Authors, Syo. 


GC, STOWER, LONDON, 180¢. 


DouUBLE GREAT-PRIMER ORNAMENTED, No. 1,531. 


Dis Befindung der Buchdruckerkunst 
Brit tisshs Abhandlungen sur Urisnturung auf 
 &. B. UMBREBIT, Leipsic, 1843. 


CANON ORNAMENTED, No. 1,531. 


Dis Geschichte der 
Brftndung, Buchdrucksrkunast 
SCH AAB, 1830. 


AF SF SY 


GEORGE BRUCE’S SON & CO., TyprE-FounpERS, No 13 CHAMBERS-STREET, NEW-YORK. 
147 


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STYLE 1,532. 


GREAT-PRIMER ORNAMENTED, No. 1,532. et leon 
Rees Cas Sy Tee SP eee e eS 
The Life and Typography of William Caxton, 
a, ope VAY ie j ; 


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GEORGE BRUCE’S SON & CO., TyPE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
148 


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GREAT-PRIMER ORNAMENTED, No, 1,533. Bese Get 


Pkg completed in a fan maOKe dessa 


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DovusLE PicA ORNAMENTED, No. 1,533. aang 10-4 


van; or the Avt of Shor eweiéing by a 
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, NOR, 


GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHAMBERS-STREET, NEW-YORK. 
149 


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STYLES 1,534, 1,535 AND 1,536. 


NONPAREIL ORNAMENTED, No. 1,534. 


aleeneo JOINS JAVELIN, JAGER, JUVENILE, 

Kixsuex HILL KIXSMEN, KINSMEN KINDRED KILL ! 

Lanovr, LOW LEVELS LOFTIEST, LONGEST LINES j 

‘Nex MARCH ’MID MOUXDS, NID MOLES, “MID MURDEROUS MINES 
Now NOISY NOXIOUS NUMBERS NOTICE NOUGKT 


oa 
AJP OUTWARD OSTACLES, OPPOSIXG OUGHT j 


aes 

& ’ i 0 : 5 

GGENERALS 'GAINST GENERALS G LE, GRIMLY GREAT} (200g, PATRIOTS, PARTLY PURCHASED, PARTLY PRESSED, 

o GS 

Glow Hono menoio HEARTS HARD HAGGARD Have, QUITE QUAILING, QUAKING, QUICKLY QUARTER, QUEST j 
os 

gi SOK ‘ ? 

XFURIATE, INDISCRIMINATE IN Ub, GREASON RETURNS, RELIGION’S RIGHT RESOUXDS, 


60 a and 80 A 
1 lb, 14 oz. 


Swanrow STOPS SUCH SANGUINARY SOUNDS. 
“Truce THEN TO “Tonner, TRIUMPH TO THY TRAIN, 
Gixsusn, UNWISE, UNMERCIFUL Gxnarxe | 

esx 

Yaxish varx yicrory! vaxisu vicrory varx | 
Wry WISH WE WARFARE? WHEREFORE WELCOME WERE 


Xenses, Minenes, X 
GRERTES) «ce » 


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ANTHEUS, Xaviege? 
Yreto! vyiero!l ye yourus! Ve YEOMEN, YIELD YOUR YELL 
Ber ah lees oe 

Geno's, Zanparnue’s, Zonoasren’s zeat, 


Au, ALL Anouse! ALL acainsT aus. xppeat }] 


PARAGON ORNAMENTED, No. 1,535. Ten aon 


athe Oi ey Ce hy 
Dx LA PROFESSION ~’ EMPRIMEUR, DIES SarrRES JO MPRINOCURS, 


Z a i Ds) AEN _ 
iG is LAS NEGESSIIOE ANGIE OIG eae IC amo ONIN ey Lee MOPRIMOLRIE IVES: REGELMENS PROMIS PAR LES 


a I we as 


30 a and 
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Ye 2 ETIENNE POLET: Rumson 


A Lyon AU 166 SIECLE, AVEG UN NO@ic® 


LONG-PRIMER ORNAMENTED, No. 1,536. * 4°50." PicA ORNAMENTED, No. 1,536. 


JHE LIFE OF MaysTER WYLLYAM (AXTON, OF THE 
WEALD OF KENT, THE FIRST PRINTER IN #NGLAND; IN 
WHICH IS. GIVEN AN ACCOUNT OF THE RISE AND PRO- 


LIBRAIRES ET IMPRIMEURS AUTEURS UE I 
GRESS OF THE PRT OF PRYNTING IN ENGLAND ACHR A a aN < - 


A PU DECOUVRIR JUSQU'’ A CE JOUR. 


1 FNEE PE LA ROPHEEEE, PARIS 9 


DURING HIS TIME TILL 14099. 


PPT CEM Same Ne Naso ; 


25 a and 12 A 


GREAT-PRIMER ORNAMENTED, No. 1,586. 6 iz. 


DousLE PicA ORNAMENTED, No. 1,536. "Sy" 


ow TO ‘J ELL A PAXTON, WITH ; 
PERICHT VON FERFINDUNG DEI 
SOME Hints WHERE 4 HOW THE SAME 


UCHDRUCKEREY IN TRASBU 


tI PLE ae 


May BE FOUND. 


YW: BEAPES: FPNPPN, 1870 


DouBLE GREAT-PRIMER ORNAMENTED, No. 1,536. care” 


13 Ib. 


Pp UCHDRUCKERKUNST. 


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pe) PRET ROE Pate 


150 7 hae ae 


a: 


STYLE 1,537. 


LONG-PRIMER ORNAMENTED, No. 1,587. 402370404 PicA ORNAMENTED, No. 1,537. 


ee tT eLUIGENCER, THE BOSTON NEWS-LETTER, 
By Sir Robert L’Estrange, eae first real The first Newspaper Published in the 
Newspaper eh tee Yours and continued United States, April 24, 1904. 
. When it ceased on the oopunenes of the Gazette. Was Printed by Bartholomew Green. 


GREAT-PRIMER ORNAMENTED, NO. 1,537. mdi 
THE BOSTON GAZETTE. FURST ISSUED | PECEMBEI R oe 1719. 
| Printed by James Frank i 
The Second Newspaper Published in the United States. 


| eae ee pp bee oe ee ron 3 ree 

THE AMERICAN WEEKLY MERCURY. 
Tssued, Philadelphia, Dec. 22, 1719. Printed by A. lbradford. 
The Third Newspaper Published in the United States. 


DouBLE ENGLISH ORNAMENTED, No. 1,537. 


me LK NEW-ENGLAND COUR NL 
Iboston, Aug. 7, 1721. Primted by J. Franklin. 
Fourth Newspaper in the United States. 


DouBLE GREAT-PRIMER ORNAMENTED, No, 1,587. 


THE NEW-YORK GAZETTE, 
Wetober 16, 1725, by W. Bractordl. 
| Fitth Paper in the United States. 


=a 


GEORGE BRUCGE’S SON & CO., TypE-Founprers, No 13 CHamBers-StrEET, NEW-YORK. 
151 


STYLE 1,538. 


60 a and 30°A 
2 Vb. 13 oz. 


BREVIER ORNAMENTED, No. 1,538. 
PATENTS FOR INVENTIONS, 
Abridgments of the Specifications relating to Printing, including therein the production 
of copies on all kinds of materials (excepting felted and textile fabrics, ) 
by means of Types, Stereotype—blocks, 
Plates, Stone, Dies, Stencil Plates, Paper Writings, Electro—chemicals and Light. 
; Printed by order of the Commissioners of Patents, 


LONDON, 1859, 


Pica Orwamenrep, No. 1,538. "5409 28 
PATENTS FOR INVENTIONS, 
Abridgments of the Specifications relating to the 
Manufacture of 
Paper, Pasteboard and Papier Maché. Printed by order of 
the Commissioners of Patents, 


LONDON, 1858, 


DousiEe PicA ORNAMENTED, No. 1,538. 


Essai sur la Calligraphie des manuscrits du moyen-age, et sur 
Urnements des permiers livres d’heures imprimes : 


E. H, LANGLOIS, ROUEN, 1841. : 

| 

De prima Typographie Hispanice elate specimen: 

RAYMUNDO DICSDADO-CABALLERO, 
Roma, 1798. 


LONG-PRIMER ORNAMENTED, No. 1,538. *° °3n) 294) 9 


A CRITICAL AND HISTORICAL ACCOUNT | 
of all the Celebrated Libraries in Foreign Countries, as well ancient as. 
modern; with general reflections upon | 
the choice of books, and the method of furnishing libraries, 
By a gentleman of the Temple. 
' LONDON, 1739, 


GREAT-PRIMER ORNAMENTED, No. 1,538. "e822 
Trailé élémentaire de |imprimerie, ou le 
Manuel de limprimeur ; | 

avec 40 planches ep taille-douce, 
ANT, FRANC, MOMORO. | 
Paris, 1793. 


20 aand 10 A 
8 lb. 4 oz. 


a a 
11 Ib. 14 oz. 


GEORGE BRUCE’S SON & CO., TypE-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 


152 


| STYLE 1,539. 


GREAT-PRIMER ORNAMENTED, No. 1,539. Ua el 


Storxreo- exitico sulla Tipogratia Man’ 


10 


aand 10 A 
11 lb 


_ Primer € 0 f 


; On oe Baand 5 A 
i NE A NAME} iD, i 20 Ib, 
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GEORGE BRUCE’S SON & CO., TyprE-FounpERS, No. 13 CuamBers-Street, NEW-YORK. 
153 


STYLE 1,540. 


PicA ORNAMENTED, No. 1,540. 


SONGS OF THE PRESS, and other Poems, relative to the Ant of Printers and Printing: 
OC, HW. TIMPERLEY, LOWDOWN, 1845, 


GREAT-PRIMER ORNAMENTED, No. 1,540. 12's audi A 


lettre sull’ anno WNatalizio d’Aldo Pio Manuzio, ed aleune stampe 
Manuztane: ANTONMARIA AMORETTT, Roma, 1804, 


DovusLE PicA ORNAMENTED, No. 1,540. 


Index quorumdam, Uibrorum Im pressorum Bee. ee 
C.G. SCIIWARS, Wortmbers, Ive7. 


DouBLE GREAT-PRIMER ORNAMENTED, No. 1,540. 


De Wetusta quadam, editione Lactantii 


J. G, SHELHORN, 


Yraite de Lithogra ohie. 
RIS, 1834 


0. 13 CHAMBERS-STREET, NEW-YORK. 


ag Raa a — a a am a a A ae 


c— —S 


GEORGE BRUCE’S SON & CO., TyPE-FOUNDERS, N 
154 


STYLE 1,541. 


| PicA ORNAMENTED, No. 1,541. Se ceee 
| Boeraphie Encomium von der Hochleblichen freyen Kunst-Buchdr rooney in einem 
I 

Feinen Gesangevertasst,. LL. ROTH, LEIPSIG, 1609. 


GREAT-PRIMER ORNAMENTED, No. 1,541. Se ee 
‘Hecatomba Laudum et Gratiarum ob Inventam in res abhine 
Amnis CC. Caleographiam. A. RIVINUS, LIPSLA, 1648. 


DOUBLE SMALL-PICA ORNAMENTED, No. 1,541. 


De Typographie in rem Christianam Meritis ue "Poccatia 
Programma. C. H. THEUNK, SORAVIA, 17408. 


DousBLE ENGLISH ORNAMENTED, No. 1,541. 


Be Artis Dypographiz Prestantia, ‘Oratio, 
A. RAVINUS, VITHE BURG A, 1706. 


DouBLE GREAT-PRIMER ORNAMENTED, No. 1,541. 


De ty pographiw Hxecllentia ¢ carmen 
THIBOUST, PARES, 1718. 


Buehdrucker Philosophie. 


ZANTLER, 1708. 


GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHampBers-StreeT, NEW-YORK. 


155 


5 
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STYLE 1,542. 
PrcA ORNAMENTED, No. 1,542. a : 
Typographical Antiquities; History, Oriee and Progress of ite Art of 
Printing, from its First Invention in Germany to the end of the 17th Century, 
and from its Introduction into England, by Caxton, ete. 


HENRY LEMOINE, LONDON, 1797. 


GREAT-PRIMER ORNAMENTED, No. 1,542. gee one 
Hssame sul principi della Francese a 
Italiana Typografia, ovvero Storia Critica di N. Jen on. 


G. SARDINI, LUCCA, 1796-98. 


DouBLE PicA ORNAMENTED, No. 1,542. 


Hssay towards a Real Charnctea ole 
Philosophical Language. 


JOHN WILKINS, D. D., LONDON, 1668. 


De € Originibus Typographine 
A. HOLTER, 8. / 40) 


CANON ORNAMENT IN Us 


er Buckdrucker. 
oe SCHWARZ 4 AU 


GEORGE BRUCE’S SON & CO., TypE-FounpErs, No, 13 Cuampers-Srreet, NEW-YORK. 
156 


Sas Sane am a 


| STYLE 1,543. 
| =e 
| 
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Pica ORNAMENTED, No. 1,543. Tem Gas me | GREAT-PRIMER ORNAMENTED, NO. 1,543. 7° 3nd 124 
) x x y x | 2 x x 
| Chaleographiana: The Printseller’s Chronicle and | Annales bLebraco-typographici ab annum 
Collector's Cuide io the Knowledge and Yalue of | ay» AV 

7 | MBI ad MUAL. 


Hngraved British Portraits. 


JAMES CAULFIELD, LONDON, IS. JOE. BERN, HE ROSSI, PARMA, 1799, 


Doustr Pica ORN AMENTED, No. 1,548. 


Precis blistorique sur limprimere National af Ses a ve 
Pr. A. DUPRAT, PARIS, 1846. 


DouBLE GREAT-PRIMER ORNAMENTED, No. 1,543. 


Manuel de Labrare et de Canateur ioe 
JACAUES (. BRUNBT, PARIS, 1842. 


CANON ORNAMENTED, No. 1,543. 


Aratio de {ypographiae fivinitate 


JDL BOBCLER, ARGENT, 1610. 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
157 


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PicA ORNAMENTED, No. 1,544. Soren Lo GREAT-PRIMER ORNAMENTED, No. 1,544. 25 a and 12 4 i 
XK History of Advertising trom the Jkarlest Times, | The Manntacture oF Paper ; 
. tllustrated by Anee dotes, | UN ays) ae oe 1 
Curious 8 Opec iMens ¢ and Biograp! | Notes. rom Wood the United ctates, 

¥. SAMPSON, Ji oe (STI, K. TY. BROWN, PHU, 1866, 


DousLE PICA ORNAMENTED, No. 1,544. 


Meeherches Historic ues, 


jxittéraires et Gritiques sur UOrigine de Uonprioerie 


PERAK LAMBOOT, BRICKS, 1798. TI 


| 


DOUBLE GREAT-PRIMER ORNAMENTED, No. 1,544. 


Annales ‘Typographiey, q | 
ab Avtis tyventae Orieine ad Annum (GO, 
MO WAPPYP ARR, HAGA (790-40 7 


CANON ORNAMENTED, No. 1,544. 


Missertatio de ‘T’ypographis | 
R. YRRTSCHUUB, Jen, (G00, 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
158 


STYLE 1,545. 


, 
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Prca ORNAMENTED, No. 1,545. 80 a and 15 A | GREAT-PRIMER ORNAMENTED, No. 1,545. 7 ,2nd12 4 
| Bssai sur les livres dans | A. Biographical and Critical 
TAntiquité, partiewlitrement chez les Romaine.  — Dietionary of Painters and Engravers 


H. CHRAND, PARIS, 1840. MICHAEL BRYAN, 1816, 


DouBLE PIcA ORNAMENTED, No. 1,545. 


De Typographus eartonque wits et mere ere In reeno 
Poloniae et Lithuantae. 


JQ. DAN. GOPRMAN, DAN IUOSCL 1740. 


DouBLE GREAT-PRIMER ORNAMENTED, No. 1,545. 


De Vera Typographiae Origine Paracnosis 
JAC. MORN TOWCUGS, PACS US, 1650. 


Origin & Progress of Letters 
W. MASSEY, LONDON, 1763 


GEORGE BRUCE’S SON & CO., Typr-FounpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
159 


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SO es 


STYLE 1,546. 


5 GREAT-PRIMER ORNAMENTED, No. 1,546. *% ut 
Assai d'une Liste des Ourrages concernant [Histoire Histoire de l’@r igine et Premier ey 
| de I’imprimerie en italie. Frogres de limprimerie. 


P| 
: 
SIENTE | 


PicA ORNAMENTED, No. 1,546. 


DovusLe PicA ORNAMENTED, No. 1,546. 


i upon fnglish ®ypographical Poumnden snd 


Hounderiés. 
HOWAED SOWH MORES, LONDON, 1778. 


DouBLE GREAT-PRIMER ORNAMENTED, No. 1,546. arene 


| Bébtts de ’imprimerie 3 Mayence et | 
Sambery. 


LEON DE LA BORBE PARIS 16m 


Be Fy pographiae Inventionél 
XM. IG DL, Coruna. 1009, 


GEORGE BRUCE’S SON & CO., TypE-FounpvErs, No. 13 CHAMBERS-STREET, NEW-YORK, 
160> = 


9 * ahs 
5 ft ‘ , ae oad 


al © 
pe 


STYLE 1,551. 


GREAT-PRIMER ORNAMENTED, No. 1,551. 12 a and 12 4 


hist of the Fonnis of Type and Woodent 
used by Printers im Helland in the Fifteenth Geniury. 


HENGyY BRADREAW, LONDON, 18H. 


QssENTEY 
August 6, 1878. 


Bete Gam Gg GD 
Triniers euiyersal Dov 


DouBLb PicA ORNAMENTED, No. 1,551. 1Ola: and! 100A 
s\ 
jy 
a NGS 

x y CO) iA 
ALO PASO fas y Qe fp AD DOD) WO SP A OD 
eur aiines Ge Ogee PERCE 
; op . 


yes) 
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GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHAMBERS-STREET, NEW-YORK, 
160! 


¢ 


eon pee } 


Wee es ee 4 ST Pe latte 
i i $4 end 


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eativarsn ye yt odd. co hornood sits ii. 


io beak S15 aie Vs 


he.) te HoWartijeat nod ofl} hat borsyiiel 
Ester Oa £0 WEE : RAAT yr. 4. 1 FTL 


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OF AN a ae omnpibyrin peed | 
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Pua ive qanl Ligh sao el 


STYLE 1,552. 


i 


GREAT-PRIMER ORNAMENTED, No, 1,552. ae 


,ectures on the Art of Engraving, 


Delivered yal Institution of Great Britain, by 
JOHN LANDSEER, LONDON, 190 


N @ | 
aN WW’ 4 WON TINNY NON WN STAN BY 


WW WW ia 


{7 
DouBLE PicA ORNAMENTED, No. 1,552. 20. aan | 
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DouBLE GREAT-PRIMER ORNAMENTED, No, 1,552. ae 8 send BA 


WY (UMMM WY 


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FouR-LINE PicA ORNAMENTED, No. 1,552. epee 


GEORGE BRUCE’S SON & CO., TyPE-FounprErs, No. 13 CuamBers-Srreer, NEW-YORK. 
1602 


‘The Haarlem 


STYLE 1,553. 


GREAT-PRIMER ORNAMENTED, No. 1,553. 25 a and 12 A 


Legend of the Invention of Printi urens J 


20 aand 10 A 


y 
j 


AGS 
— FA 
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ei, en AN = 


GEORGE BRUCE’S SON & CO., Typr-FounperRs, No. 13 CHUAMBERS-STREET, NEW-YORK. 
160% 


des £5 RE Te eR ptt Seer PARE =, ig 


i add i haoxad pe c 


Teco Ge Poe 7-1 a 


retin’ 3 HOAs tah h @ if Oy afore rd vatigin't | In woitga 


gnment a. rd hae at ost late lengrt bomiarate vu 
eB A iis iid 4 ‘ ae eet wae 


A ae,” 4 


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rolaiaa ivi bow! ee, stividoesd 


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OF STOTT RTOS 


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2 an Ae ay ’ /- ‘ i ts 44 ¥ fr, 7 i rapt 1 
hi foudbnstt bien BO Kami gone SBSMR UNE rraitly. mnhgy SPS Aisin colnet yee ge 


Bie aise mi radu result as | } JomusssAguMbA we’ toh Baubniis® veh 
RE: RIT 2: 0 _ OM! MIN. PMOL fot Fe 


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¥ ws 
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GR , No. 1,554. 


> Prac isthes ‘Handbuch ur 
ASE) Buchdrucker im Verkehr mit. Schrifigiessereier 


Ye. SMALIAN, DANZIG, 18tq. 


PicA ORNAMENTED, No, 1,554. : 

Die Puchdrucker-Geschichte Ulm’s cur vierten Sicularieier at 
der Erfindund der Buchdruckerkunst. 

DR. K. D. FASSLER, VEM, £830. 


DouBLE PICA PEN @s ooo, 


Catalogue of ke “Lom Collect tion of | 
Xntiquities, Curiosities and Peppliances connected with the Art of Printing 
CAATON CLELPRATION, LONDON 18%. 


Int ono. ‘ + Pani ilo Cast al da 
Feltre e alla Xnvenzione Carattert FWkobilt per la Stampa 


BERNARD, WILANO, 1266. 


, No. 1,554. 


Vechorches sur la Vie et les Travan i 
Imprimeurs “Belées et Seéerlandais. 


“van der r WEETSC TH (5h 


UCE’S SON & CO., Typr-FounprERs, No 13 Cu RS-SPREET, NEW-YORK. 
1604 


STYLE 1,547. 


. 


b Prat Oe A x No. 1,547. sand 15 A GREAT-PRIMER ORNAMENTED, No. 1,547. 25 3,214,124 
“Fistor Aoréote de jie son -tab- Pesagi eee enh Arte de 
= lissement en France, ete. lg Stampa. 
F. A. PELANDPINE, LYON, 1814. OR DaNVLOH Eien nl slots 
Ee DousiE-PrcA ORNA ; No. 1,547. : 
De Origine et des Se elions de Fimorimene 


primitive. 


WeG. FUGGER. PARIS, 1759. 


DouBLE GREAT- IER ORNAMEN , No. 1,547. 


ettre Sur Min vénion He Mieathinare 


S. ENGEL, 1741. 


INTED, No. 1,547. 


De of ‘ypographia Dissertatio 
kL. MORMANN, 1740. 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHamBers-SrreeT, NEW-YORK. 


STYLE 1,548. 


GREAT-PRIMER ORNAMENTED, No. 1,548. Shaner 


lkettve sur ’'Origine de I'mprimeric, servant de réponse a 
aux Observations publiées par Fournier le jeune sur POuvrage de Schoepilig, 
(ntitulé: Windiciae T'ypographicae. 


6. BAER, STRASBOURE, 176. 


Dousne P1ca ORNAMENTED, No. 1,548. suas | 
Mlonumenta Typographica, quae : | 
artis hujus Prasstantissimas Originem, laudem et abusum 
Posteris Produnt, ste. | 


DousLE GREAT-PRIMER ORNAMENTED, No. 1,548. Tw 14 on. 

“Recueil de Witfsrents 
24 2 2) [ Oo eth ae -e \ 
-aités sur Pimprimerie et les Garactére 


CANON ORNAMENTED, No. 1,548. Ba ae 


The Printer’s tee ; 


& EQATTAN, PHIL 184 


GEORGE BRUCE’S SON & CO., Tyrx-Founprrs, No. 13 Cuampers-Srrent, NEW-YORK. me 


162 4 mee 
- re" oe ie oe 

ae . eke Lo Rig Sea ot ae 

*y g ke eee >: saad wie» Lule 

; f ? ‘ 

‘ 4 ") aN =i ‘ 


STYLES 1,549 AND 1,550. 


, No. 1,549. 


Some ecount af the Book . ol it bt 188, in Title of Bxposi a Sane ina 
Simbato - tolorum ss This is the Book generally supposed to have been printed hy Rrederick cn 
gain stat WEEEBR SINGER: LONDON: 1812s 


E Pica ORN , No. 1,549. 


Baan (ua Dyvoeraphine annun 1440 | inventae estum seculare 


indictum: 


9 

G 

| p 
| @ 9 
3 20° 
229K 

i MEP Nib 

Yo fe a‘ opepe 


Pica OR ED, No. 1,550. s.spet as A GREAT-PRIMER ORN NG 5505 ee 
BP rhanore um tere Vita ipsorum ac Pacts we OMS ratiaie on 
COMES CORA a the dhistory of Playing-Cards 
MICHAGA MAE PAdS | | rp 
| ENT pjondon, 1709. UV. A. CHA Ph —), S38. 


DousLe PicA ORNAMEN , No. 1,550. 


ire sur la @itho-t nog bani presente par 


PALA DUPONT, Paris, i839. 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
163 


v4 ee eke th bel By ae, 


. ; 


Aah dbl + (oe) Pan ie | 


Mal ae Siam 
i ont " 
; ppt eae os | 


. 


f — ee ee ot es ef Pt nar +4 - 3) es ij i * 
inthe’? HA Bcbig + anence A Le apt ok vi) bexas Syed 


‘ 1am anid Ba gt bora P 
‘ bd 


Founding, exercises a Free and Independent Art 


STYLES 


644 TO 648. . St i Oh 


PraRL ENGRAVERS’ Harr-Line, No. 644. 99749) 4 
Wir that of the boke losende were the claspis: 

The margent was illumynid all with golded railles, 
And byse, enpicturid with gressoppes and waspis, 

With butterflyis and freshe pecocke taylis, 

Enflorid with flowris, and slymy snaylis; 

Enuyuid picturis well towchid and quikly; 

It wolde haue made a man hole that had be ryght sekely, 

To beholde how it was garnyschyd and bounde, 

Encouerde ouer with gold of tisseu fyne; 

The claspis and builyons were worth a thousande pounde; 
With balassis and charbuncles the borders did shyne:; 
With aurum mosaicum every other lyne 

Was wrytin. 


JOHN SKELTON, Born 1450, Drmp 1529. 


NonPAREIL’ ENGRAVERS’ Harr-“ing, No. 644. 937690 4 
Anp also of your charyte bear in remembraunce 

The soule of Witztam Caxron, first printer of this book 

In Laten tongue at Coleyn, himself to advaunce, 

That every well-disposyd man may thereon loke, 

And John Tate the younger, joy mote he broke 

Whiche late hath in Bnglande do make this paper thynne, 
That now in our English this boke is prynted inne. 


WyNEYN DE WoRDE, In A Boox or 16504. 


LoNG-PRIMER ENGRAVERS’ Hatr-1ine, No. 644. *%43"3%.* 


COMPLAINT OF CORNELIUS KILIAN, 1580. 


PROOF-READER FOR PLANTIN. 


Ir is our duty to correct the errors of books, and to make sense of 


defective passages. But the incompetent author who is afflicted 
with a desire to write makes a compilation without sagacity and 
piles up fault on fault; he covers paper with blots and scratches, 
and disfigures his copy. He does not spend nine years on his 
work; he takes no pains to amend or polish it; but he makes 
haste to have his vagaries printed by the fastest presses. When 
the critics say that what he has written is in defiance of Apollo 


and the Muses, our scrawler is furious. 


NonpAREIL OUTLINE, No. 646. 


TBs WPI OF WEI SIECOND BIBL. | 

THE BIBLE OF THIRTY-SIX LINES, ATTRIBU’ 
TO GUTENBURG, IS ON DOUBLE-PICA BOI 
PRINTED ABOUT MCCCCLX. 


BREVIER OurLINE, No. 646. 


, BENJAMION IPIRAINIMILION 3 
BORN IN BOSTON, JANUARY 17, LIOE 
DIED WW PEILADELPEIA, APIRIL 17, 1 


LONG-PRIMER OUTLINE, No. 646. 


The Type of 
GUTENBERG’S PORST BIBLE 
A. very bold Gothic om Paragom oy 

Bible was Primted 1450-1455. 


ENGLISH OUTLINE, No. 646. 


IBIEINS AMUN INRAINTOGI 
Im his 12th Year was Bow 
A\pprentice to learm Primt 


LoneG-PRIMER IraLic HArr-LInE, No. 645. 43 4,™5°2 4 


OGEIGZONS Sata OD) GP iy QUE ANOURe EG) MANGE Ia), 

Fis defence is vigorous ; he says, it is the Proof-Reader 
who made all the errors! # pitiful excuse, my blundering 
author, to attribute your own fault to the Reader. Has any 
thing really good in your book been spoiled? Henceforth, 
blunderer, correct your faults. (Won't you know that who- 
ever corrects the faults of another receives neither thanks 
nor honor for the service. He only exposes himself to abuse. 


Pica Iranic Harr-1ine, No. 645. *° 7 

@eter Van der fifi, an emim 
bookseller, born at Leyden, wn 16 
had a large printing office, and W 
eminent as a Map LHngraver am 
printed and published nearly 


volumes tn folvo. 


PicA CONDENSED HArr-Linn, No. 647, 2% 32nd 25 4 


The Typographer who to his knowledge of Printing adds that of Type- 
He can work in all Cities 
of the Realm, even im Paris, where by the simple formality of registering his 
name 10 the Books of the Pratemity of Printers, he becomes a Member of their 
Association, and enjoys all their rights. The Printer can become a member of 
the Fraternity only by a Decree of Council... .. Pierre Simon Fournier, jun, 
Manuel Typographique, Paris, 1764, 2 vols, cap 8vo. vol. 2p. uxiij 


Pica Hatr-Line SHADED, No. 648. 347 


JOAGHIM IBARRA, NATIVE OF SARAG 
Printer to the King of Spain, Died in 4786, a 
He was the best Printer in Spain. His most 
Books are, the Bible, the Mozarabic Missal, G 
vpanish translation of Sallust, Don Quixote a 
ana’s History of Spain. His printing ink w 
admired for its blackness. 


GEORGE BRUCE'S SON & Oe Type-FouNpins No. 13 cmos, PRR 


a | 


STYLES 146 649, AND 650. 


| Grear-primr Franc Harr Live, No. 649. 20 gules 

| THE COMPANY OF STATIONERS 

Or Lext Writers, who wrote and sold all sorts of Books then in use, namely_A B C.or, by 

Quick pronounciation, Absies, with the Pater Voster_Ave Mary, Creed, Graces, &c., 
Dwelt in and about Pater Noster Row, London, before the Year 1ho5. 


Brevier Law Irauic, No. 146. Sonne S08 


JUST AS THE UNIVERSITY QUARTER 

of the Paris Booksellers and Transcribers of the 14th 
Century is still called the Latin Quarter, so do some 
London places derive their names from the labors of 
the said Company, as Pater Noster Row, Creed Lane, 
Amen Corner, Ave Maria Lane. The Stationers’ Com- 
pany consists of Printers, Stationers und Booksellers. 


LonG-PRIMER Law ITAuic, No. 146. *°*3¢204 


SLOWAVINGHIS SURVEY OFVLONDON. 
1598, says, Turners of Beads, who were 
called Pater Noster Makers, belonged to 
the company, as may be seen in the Re- 
cord of one R. Nikke, Pater Noster Maker 
and Citizen, in the reign of Henry IV. 


Pica Law Irauic, No. 146. a ae 


THIS FRATERNITY was very old even before Printing was tnvented, but no 
Privilege or Charter of incorporation has been discovered. The earliest known 
Document giving the Stationers’ Company authority over the manufacture 

of Printed Books ts the Charter of Philip and Mary tn the Year 1556. 


LONG-PRIMER VENETIAN, No. 650. *°* 975,70 4 


THIS DOCUMENT begins: The King and Queen 
2 all to whom these Presents shall come, Greeting: . 
(now ye, that we, considering and manifestly perceivin g 
hat several Seditious and Heretical Books both in Verse 
| nd Prose are daily Published, Stamped and Printed by 
wwers Scandalous, Schismatical and Heretical Persons, 
1ot only exciting our Subjects and Liegemen to S edition 
nd Disobedience against Us, our Crown and Dignity, 
ut also to the renewal and propagating very great and 
_ \etestable heresies against the faith and sound catholick 
octrine of Holy Mother, the Church, ana being willing 
? ) provide a oe remedy in this case. 

ated at London, May 4, 1550. 


PicA VENETIAN, No. 650. ie ee 


SECTION 13. Moreover we will Grant, 
Ordain and Constitute ....that the foresard 
Master and Keepers or Wardens, shall very 
lawfully search as often as they please, any 
Place, Shop, House, Chamber, or Building of 
any Printer within our Kingdom, for any 
Book or things printed, and seize, take away, 
or burn any Book or things which shall be 
Printed contrary to Statute. 


GREAT-PRIMER VENETIAN, No. 650. 7 Ih 12 on. 


SECTION 14. And if any person shall hender the aforesad Master and 
eepers or Wardens, then the foresaad Master, Keepers and Wardens shall send 
To gaol the sad hinderer for 3 months, and he shall pay 100 shallings, 


Lawful money of England, one Motety to us, and the other 
Moiety to the foresad Master, Keepers or Wardens. 


GEORGE BRUCE’S SON & CO., Type-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


r | 
ome “© ¥ 
att ors % id 
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BIyn— 


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dtd SFR Ustsiiad FABTLIBY ED BA BD SI AEA ME 


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CET ED oi oF wh Pd Sd TAP a PERL F 4 ‘if AEDES IT 181 SIF bit BAG fae 


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STYLES 651 AND 652. 
| 


Pica ParnT-BruSsH, No. 651. 14, 38, 42°. &e. GREAT-PRIMER Parnr-BrusH, No. 651. 7371224 


ROMAN LETTERS | SQUARDB GAPITALS 


AtLamed Wer greatest beauty wm he 


yverron oF Augousius, and the style hen | Used on Nivral Nonuments, 
used kept Mm jason 500 years. Vr | WTI OOD OY | 
gave place to a degenerate character | and Medars ’ UNG NLS, | 
known as Rustic, wm uric the Letters ‘Rounded Caprrats UN ‘Books, 
sloped backward, and were Jantast- . - . ; 

BE aren cal and fine Nanuser pts. 600. 


25 a and 12 A 


Dousie SMALL-pIcA Painr-Brusu, No. 651. 20 6 and 
SMALL LEVTERS, or Loner-case, were used 
Sor Deeds, Accounts and Corveshrondence. They 
were vare before Whe Wh Cenkury) Common 
Lm ne Sth and worvweersal lo the 10M. 


LONG-PRIMER MADISONIAN, No. 652. 49,8,0n¢ 20 4 Pica MADISONIAN, No. 652. 14, 25 Se'in &. 
igehar ease Gothic, which lkecame a distinct Greek Manuscripts. were usually uritten 
stule in the 78th. century, ts improperly named. 7, 1K : ; | 
LG aS oe ft erie : in Fquare Fapitals, without spaces between 
: ; : pole eek uae the words, and with kut uery feu Points of 
Pa ea ae US) 
made lu the scriles whe usote tiadlu, and uh gq 5 oS 
tried ta conceal thelr errors lat er-namentation. Punctuation, The Gussian yy rahaket, of 
Gothic writing ts Latin uriting corrupted. 3D letters, ts deriued from. the Greek. — 


DousLe SMALL-PICA MADISONIAN, No. 652. 44, Be bap &e 


GREAT-PRIMER MADISONIAN, No. 652. 14, BFousct Ft g ii Ih pi 


Modern Gothic writing sfiread 7 
auer all Gurape, except Ftaly, in gneuclopedia of 7830 saus: 


72th and 13th genturies. _Ftaly @ nalish Statute ie aut Ta 
adhered ta Shaman. chatacters, — ip tinted tn L#l acle Be Chek. 


DOUBLE GREAT-PRIMER’ MADISONIAN, No. 652. WGent@ 

Steel {fens de ts SOZ3 
Fleel fens made by At, (Wise, 7SO2 
CANON MApbigontiAn, No. 652. os 


Gold {fens, Hawhkins,’2F) 


GEORGE BRUCE'S SON & CO., TYPE-FOUNDERS, No, 13 CHAMBERS-STREET, NEW-YORK. 
166 


STYLE 680. 


LONG-PRIMER SHOw Carp, No. 680. 

_ ANCIENT CUSTOMS IN PRINTING HOUSES. 
Bvery Printing House is by the Custom, time out of Mind, 
called a Chappel; @ro all the Workmen that belong to 
it are Members of the Chappel: ( the oldest 
Freeman is Father of the Chajjel. 

Moxon, Mechanick Exercises, page 356. 


Pica SHow Carp, No. 680. Bone 
au MOXON, MECHANICK EXERCISES, 
[a Page 357... There have been formerly Customs 
Coe 5 au rn jor the Government of the 

Chappel ( for the Deportment of its 
Members. Penalty for breakind them, a Solace. 


GREAT-PRIMER SHOW CARD, No. 680. a onl tice a 
J. Swearing in the Chappel, a Solace. 7. Three Letters (S a Space under a 
SOMPOSTITER’S Case, a Solace. 8. i a PRESSMAN let fall his Ball or 
Balls, @w ancther take it up, a Solace. The price of Sclaced varie. 


DovusiE Pica SHow Carp, No. 680. 


Tf a COMPOSITER jut a Wisp of Hin in the 
PRESSMAN'S Ball-Rackd, the Preddiman lajind 6d. 
on the Stone will furchase a Solace of S2d. 


DoUBLE GREAT-PRIMER SHOW CARD, No. 680. 


THE COMPOSITERS are ie 
ralley Slaves, allusively to their beind bound 
to Galley an Case of Tyjie... Pade 862. 


Canon SHOw Carp, No. 680. 


— PRESSMEN are ae 
Lorie, laborind sorely all day 
at Bar w Reounce.. Page I6Z, 


| 


GEORGE BRUCE’S SON & CO., Typr-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
167 


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Px) Hoyded!) oy Kidaht 


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if Babli: Noo) uv oni 


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Jor pol aiid 000,88 ales IPI wl! 


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STYLE 681. 


Pica Enearossine, No. 681. Se ace GREAT-PRIMER ENGROSSING, No. 681. 744,03" | 

Setipt Cypes rote fist made in Pay. KN Sooman Punter, Ph hilip Pigouchet, of Pais, wa) the Pint a 
named Heimann, in the year 190, cut the Punches for a wude form a4 ta ill 
of Setipt, in imitation of aw fashion of totit ig then known af Batarde who intioduce the [as hion of profusely | usbiating, 
aiiee eh the gel re ae of meni tail- a text of types with miniatwie woodcuts, in imitation’ 
mans form of disconnected fetter tas much ge y the “Cype- 
ie of Syory. “She Batavde Aneidune, the Bataude Buisée, ‘ the dtl (uminated ) Lanusctipty of that petiod. Hy 
the Bataide Coulée ae the he Swaive Srangoise— variation of this fist woth, of this chatactet Wo Book of ow, 
fashion, ave sy by YP. S. Fowenier, in his )anuel “Cypoguaphique, Aten 180. Nelust tiation) woete on a Bbc yiou nd. 


Pay, 17 700, vol. 2, pp. “130-412 


SE" CShielmann JKewet, Jehan 2, in Pion: “Youate, Simon Yo oa 
other piintery of Paris, weve prompt in adopting the new fashion. “Che ‘Wissalh, 
Books of Nowy, Peayer Books, Poemy and Romances printed by thew and 
ta suiccesdov) between 1493 and 1500 ate iegatded af masteipiece) of typography. 
Chae Pail piinter) made fiee wse of gold and wd ink. Some copie) of ie 
woth) wete punted on vellum, and wete adoimed by Jtluminator. - 4 


Sebastian ))Cunastet, of Basle, no Celet te 15 38 jcuy) | 
that he and biy piinter Storchoved, had invented a method of 


piinting Sypogtap bie ) apy, ond o of casting (Gomplete Word). 4 


CANON ENGROSSING, No. 681. 


Wie Seting, died at Vary in the ja 
1510. Jn 0 year) he punted O57 book). 
Xe bequ cathed 25,000 liviey to a boll 


GEORGE BRUCE’S SON & CO., Typr-FounpERs No. 13 CHAMBERS- STREET, NEW-YORK. 
168 


« TrirJt@® ©. «\ he. eee 
, ath ee an, £9 
og pale ae J. 


— .. j STYLES 682 AND 683. 


E GREAT-PRIMER CrrcuLAR, No. 682. 14, 28, 42'Ib, &e. 

; CONNECTED SCRIPT TYPES were not attempted before the 1Sth century. None of 
many varieties then made were popular. Rowe Mores, in 1778, says “the Cursortal ts a flimsy 
* Flansard, in 1825, says that the early English Seripls were “clumsy imitations of a hind of 
ing ae Savage, in 1841, says that the early English Seripts were ‘notoriously stiff and formal.” 
failures of the type-founders were occasioned by their ability to make inclined faces on square 
Lo evade this difficulty, Seripls were made on rhombotdal bodies, or on fractional bodies. 


Three or four distinct types were required, in some fonts, for the formation of a single letter. 


DouBLE SMALL-PICA CrrcuLAR, No. 682. 14,38, aoe ae, 


A CANON of a Council of the 7th Century: ‘They that tear 
My cut Books of the Old or New ‘Lestament, or the Holy Doctors, 
ow sell them to the Depravers of Books, or to the Apothecaries, are 
communicated for a Year. ‘They that buy them to corrupt them, 
them be excommunicated. ‘limperley’s Encyclopaedia, p. 55. 


c Pica BorussiAn, No. 683. BOS et a GREAT-PRIMER BORUSSIAN, No. GS3o eaters 
oben's Gomplaint against Picatical Publishers... Alany ace they who What the Crities of the Fifteenth Century said to Caxton 
nit for Ftoben, aud fave almost Conspieed for his euin. Mhon any Some Boutylinen blamed me, sayeing thet in my Crans- 


‘appears, which promises to be Saleable, they surreptitiously procure ; or ; } 
. : lacyions J had over cucyous Germs swhiche coude not be 
nd print it, and sell it for a mece trifle. They pay nothing for the 


ondecstande of Comyn People, and desived me to vse fie 


fe Froben incurs great expenses for the payment of Gorrectors and 


| th muechase of Original Manuscripts.  Froben died at Basle, L427. and Homeley Cermes... Caxton s Boke of Cneydos, 1490. 


DovusLe PicA BorusstAn, No. 683. ng oe 


Br: s Complaint of the Grvors of the Gext-Hooks of the 1th Century... hen F was 
bung, said Foseph Scatiger, J would bet, that, with eyes shut, whecever J opened Constantine s 
tceek Lexicon, thece J would be suce to find an ecror J would win the bet. Seal, pp. Meh, 174 


- 
GEORGE BRUCE’S SON & CO., Typx-Founprrs, No. 13 Cuampers-Srreet, NEW-YORK. 
: 169 
an Vi os Y He ; y $ 
- uy i io aes s Teer) , 4 Yr # ws J 
Baas re ae :\ j 


) OI ' 
pile OEP ess 
U 


Pte eee 
ay a Ptiwhe ab cit 
‘ ~ gee obs 


hj 


a AO ned 445 
Leet s fut 
STYLES 684 AND 685. 
DousLe SMALL-PICA ITALIAN Secrerary, No. 684. oe aa 
cia Peholar’ & EN ations avout Book Offoargins. oan Jt deems ves me, that they do nob ow 


Rooks usho f Ree Chew Ofloargine Sloan and eee and ushe ore nob con slot 
enoqad ed | aus the work ie Berrectina/ Suro, au d Offoaki UW of oles and Olscrsations | ¢ 
eat ve 1 


the Oflocrgine rasmus, Os quoted iy Shesllier, chap | Us. lv. 105“) 


DouBLE SMALL-PICA CALIGRAPH, No. 685. TvisOnLnen DousuE PicA CALIGRAPH, No. 685. ao | 
he Lagat Boke Eee AN a) achap b the Ahoran, eats a Sahoo, XN. ih Ag As 168 } 
“yak mad. jer ak pander) lap a emalee db the Baht Sad 0) Inyo in enn natn.» AR li A AR 


Reel Gh cfeamns Mel asnen ha aa es Gat oe O00 aww a 
pas ) ") Dee en goat stings hye, st Mande a 


wi 3 inka bg. Sha Lady a 5 ha foe Sad 8 a oi Sonaptaedleoeh tha ae ae af be 
ide © doh’. Waimea ger Jac thisa, 2) coke Bindings ‘s eral be sacfub le apron Kho | 


Maal, oh Lae ore he tae cy oe ros - ae, anal mauling EL oer a a 


DousLE ENGLIsH CALiGRAPH, No. 685. 15, 30 Th, Be. 


S soon dhe the | nly) ol those acho afighl goods tren 


iene hice 7 Neat ), ay ag he TNE AW Tow AWAD disingpidhedo te wy thie elecnme | 
an ive Boj Bordon Ii WAN teomecnren i ate ckegames ama Ow Wilkow tn a) 
Ne RMD) lace by ol the ANSE YS they nesheclincly) « emblaned ar Weed AT4G= 13) 


Canon Caticrapn, No. 685. BO Te ke 


so Bvicentalo — ‘Stich a A 


the aye 706. ad, lal 1 Qe Sifu oll 


ee 
GEORGE BRUCE’S SON & COs TyPr -FounpErs, No. 13 Cuamprrs-Strerr, NEW- YORK, ‘a 
170 | ae 
a+ ey = - 
i Sn eten nee Re 
* on hit oer 


STYLES 686 AND 687. 


Dousite SmMALu-PicaA Ronpe, No. 686. 15°30 Ib, Be. 


“Re oem Aw Me OP usentatvory yen Onglih Sy fogralshical leaden cel Bll yee es ow ere es om } hat 
ie Ong lal tens ' aes owned Ay or Sel hone of ie Lee, apy dhe N ouman. aay Maumee: einen ed ov bones 
Ayes ae Ley Jprefrared, ave’ dhe’ g ob OF ies Base’ Seerelary ) ae Meee Rouwningy Seovetauy, hes Count 
a jury mevev’ saw ow /rajev, mov wv oA v f, al / that we evel’ alt. he! Bases “ie Ona hectelaee aku 

al iol te ee 


| hy Bie fy. the geen Aemauns “ Her & ow aloud ¢f Ong lana 1 Ahoy heen on Jpont Sensdenee, yn thes RCA eauecieny OV 


al wey ok, Gus Founninyy Roar joa of ther shyly of Hier seh voeol eaveoudh a Vranjon “f Loyons, (556. 


DovusLEe Pica Ronpe, No. 686. 14) 28 Ib, &e, 
it Gunsouol ; Ms {fray une, jmutatingy a /weudo Mahan Ahand-wilong, and fitted fev , laden 


Hreawe-canduletes jou jaw cvces dowolwe) , wt Ne cowl a Aeittow! ; to juve dite: Rola Arowble and, 


val Ahew management a ipew ; adhe cfuntor of Roowe! Moores jwa/ Aus Dissertation upon 


tore Founders ‘s Foundries, Kondow! at. 68. Gdward Hoowe Moores lo. oMo, 1 A. 9. 


Pica Srecrerary, No. 687. Oe neo ENGLISH SECRETARY, No. 687. Star 


“On Petitions from the Justices of the peace, Centlemen, Theiv Petitions set foul, that the @randjurymen were 
py Brel Uruecholdots of the County of fork, the feqis- obliged to make Afheve Oe seatnents Aw Language awhich 
the year, 47 33, thought ab meet to abolish a character they did mot understand, and in @ Charactev aunknowwn to 
could mot read, a qrand and moble character adapted aw but the Beamed AW the Baw pen om which que theve 
d ad | ie 

ation -to jrosteruby, nie Hecate eirterusiiclom tren tecotos of Worshijis to great Gxprense Ay eeu Counsel draw the 
avere wiitten.'/C) ) Alllores, qu 34. came. y~ Powe Alloores, a Bf 


=e 
A 


GREAT-PRIMER SECRETARY, No. 687. 25 a and 8 A 


On the 220 Gi ice, 1730, the Committee - rejrorted uThat the Proceedings of the Haw. bemg an Law 
v, abbreviated, and awitter aw Coust- hands, and Characters - auuntelligille and nob Leqible to the ee pot of 
; 2 0 concemed, eopectally 1 AW Criminal Cases, aie the qieat COMMdSe of delay of Lustice, and cccasion «most 

yew Flrauds."'—~o_ Gdward Mer Mores, pr. 32, 


Dousie SmMALL-PICA SrcreTaRy, No. 687. ae os 


Bi xc0: “Oadus that a Bil Le Brought in sto ta said Tegan and these 
Us bet Lons were adopted by the OGousen. Fad these honest Centlemen who thus confessed 
ic ss tn f jonny om Stag 
f the Midings, thee would bo no cause of complaint....Cut the Bill cutstaips the Roesolu- 
tic a on OE toe Sllores fu. 82. 


ob a : 
ic GEORGE BRUCE'S SON & CO., TYPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


ATE a ae , tae 


Mare oe ers 
eee “* 
sae 4 : = ‘s 7 
wee ‘ L 
STYLE 2,000. 
DousLE SMALL-PICA Scripr, No. 2,000. ig ae ae eee 


ASSENT ED 
Nov. 9, 1812. 
ZF 


a€ She Sit Batent ff? a deny n. MN bhe’ United VA, Caled of Chmetica, Me 
NG rar: 4 i yoanted 0 Geotge Biuce’ fe? Ahes Doulle’ Gi mall: Bica Soufil dite 
Now We S42, undeP bheé’ act of Congtefo afiproved bugust LUT S42, enti 

«< Cty Chet ww addon’ fo an’ Chit M0 frome’ Mh! fogtep of. he! Useful A 
and so Aepeal ate Chels and fools of Chet» hereto bbe! nade f# Ahat Yifione 


, 


GREAT-PRIMER Scripr, No. 2,000. 14, 38) 42 Ib, Be. 


Suit 2 {y fet, to called, were Aaigely. pnade/ jr Sanco, fi phe’ Lye? 1550, Ay Wed 
Grangont of Y, O14, who cul Ahe/ fucrohel f° an pmitatton’ of a Atyle/ of pweting’, then by Ww 
a phe! Prench Cursive, Lhe’ Ay feed of, Aha chavacte/ puese’ not_nelined nor connected - the’ Cafu 
Wwee/ fatye, prey Mucqula, exceedingly” poleyue’ feeeta Ahe/ oodinary” jeadley, undecippherablle/ _.. tut Me fe 
a fipilar fre Many Bhinters pnade pbe/ of jt a a bulstilute f° Stati, and Brinted Lefaces 
A rttaduchions with Mh chatvacter.~0— Hen 2nd, Hiny of SPrances poe Geangon Abhe! eaclustve’ 
of, pnanipactibe/ f° 7O Yous. See/ Sournir’s Manuel Sypoyraphuguer pwnd Apille/ of Cutsive/ Pas CZ 
vol. 2, froges Ff, OE She’ Jnprevements of node Sy Lefounding” ae’ agnally. shown te Ge 


Eneuisu Scripr, No. 2,000. 14, 28, 42° &e, 


Lengamin Prankter’ to Wlhbaw Yrahans wunder” date’ of Ctug: LO oA ISL, ek pemembeg one 
olbewminy” to me’ tn’ the’ Hause’ of Commons that no two founeynen Bintew Meee (ous? tnowledge, fea 
with puch suceefs ao oursclved. You MCE Ahew at the fecal of yous? Leofifaion; and Joon’ of teward. Me 26 
Memb ef? of Bo lament: CF jad a Ctgent for a feu Provinces, tut mow PP act: Ahem’ al GB. 
fade! WIEA ty different nodes, of ai a Licpublican Qipeten Ahehed a Horm woedl Yoned. Dowej being 
0 Ahiode’ Quetbeaiing” Setters that tela thet feels 20 high ad lo frrcvent MhetP peighlors fom of freainy. , ; 


Pica Script, No. 2,000. 14, 28, 42 To, Be, 


You, as a Monarchist, chose/ to pork on/ Crown! Puprer, and found A profitable, pvhibst CP worked Mepor! io Patra 


ynudect, called Foolscap, pwtih, Mo bess advantage, Both uz? pears told out jue pwell, and jue, SCCM Aihely, fo anake/ a 
pwouks of Yh Mt seems to me/ that the! Compostlors jt your Chapel do not cast fff thet Copy nuell, mov perfectly / 
Sinprosing , fhe” Fovms ar’ continually’ frestew ty the! Cuts and Doutles that aru! not casy’ fo- te’ couccted. Ctnd oF 
they ME, jong yp, saying astde/ some! iuces, and poeuteculaar “yy JOC’ Aiudopuives thik would paved feen! tooth pesofiul anh 
But Courage vA She! Piusiness nay std flowrsh Lae good management, and the! CHaster fecome/ as pih ad 
Company. Prat tas Pufsy, NCO Faia, August HOB GENT, obo 6 BB. Franklin, 


GEORGE BRUCE’S SON & CO., Typr-Founprers, No. 13 CHAMBERS-STREET, NEW-YORK. ie 
172 ye 1a ida tail 


=> fi 
iil oa 
aie Ly wae 


oe ee i ere hoes 


. ao ae | LN aie pt We ee a SAS Oe ek aes 
ito Tk Ce eeraee Te Si oy 
oF . 
eee Na Rint 
Nae! Sree ee ke ee 
: : STYLE 2,001. 
a i GREAT-PRIMER Soret, No. 2,001. "so So. DouBLE SMALL-PICA Script, No. 2,001. 147285 Go, 
‘ eee YA 
Ce ‘ouufiet aM Sp C oF, i Ob fi Zs Yiusd Bx wpcwinent tn ae fo YOSO42 132 VILLE of 


oo My Dea Suter I dhe a hanow bat tn VLE against onion Pilih is. 
yf cceed to fh Kieeg of tbolf, og Callads GAPS Vaile alwys jatil thi (Books were 


the coalsenefs Cf, my praprer. we wasted ta much 
iS oa e PP so aie a  onetous Stl of men. Wo tn the 0c fuccsene 
v4 could accem plese wy hing beyille Bil faa 


td ety y fone ve intend ta nif CY, Ae iigentOouds lara 
of: the town 2 mate me a laiger CUE. ha C tase’) The fo a ae ME that they have fi aid me 


AMUN, Mie SF season lt COMfUwWiM.... 


Wy Be had on “ ee uf et ho title, til thal J have wtidéen too much. 
| A mastiffi .. William Coupe, ALEL-S EOC. Samu fhrsn, vA ae vi ; 


DousiEe ENGLiIsH Script, No. 2,001. 14" 28 Ib. Be. 


fa | (Operttee SVO8: We tywue bo gy tn the pands op //, iu A, thé 
ay el ee 
Ly Bi vl Gla ee / ihe his thé Np DE PI WOH f° caching CZ thé AMLCMMCI 
il he Chews as we tn bicatuse, as tn the  frqpet aed of hs Vig dfn. 


DousBLe GREAT-PRIMER Script, No. 2,001. 38 Ibn he. 


|G. Os. YB, Ufc 7 diyjfet Myf CE EE ., YE EOE 1d 
BAZ yt PIPE, fe Ee Od, Mhiih, opulent Pike 
| .” uf LAAT OIE yong Uhewvif.. YD: 1007 | 


Dun Sine, on 7 yes hated Ould Gf 4 TIS Es 
; Mal eer ad Yirulbe henth WMS the ye f Valder 


5 it PELL. Vuntes of Suland. 


- GEORGE BRUCE’S SON & CO., ‘TypE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
ONES a 173 3 ee vor 4 


. : 
Me 4 


* » ort ) 2 + . + Ci Curt eo ty hg 
rr er Se ee aS ; — : vy 4” ° ee SO aA gS na a. Es} oa : a 
‘ : a eh hla s ‘ ' 5, hens Lae Ope as ses - 
+ ‘ ¥ an £ , : r, ‘ 


mrad 


A ; : “ -, vas 
2 ; sora aha eae ee eee 
‘ i ‘ . ys wes a Fb aie Bits aN ey ea ek 
ER tiaras oe eae Pre 
a a wi + 2 6 eee eee ae A bh v=, Se ee ld oie ih Ae Seis | 


a hae Ce en) ae 


STYLES 2,002 AND 2,003. 


DouBLE GREAT-PRIMER COPPERPLATE ys, No. 2,002. SM alsa 


| : i S Lhe oy ey Wa Ye AH wig aay en ee Wee whe Meu 
G danons Tee <a th fe ee ei Yes) Shem ainifectle soa 
& wh. sce M00 FE. G Ad my "nil 


(@ 


DOUBLE GREAT-PRIMER COPPERPLATE Script, No. 2,003. eet 


eh os f MM PEELE Deh OL’ Wbeting, mile Aifei TI Ol, Ma li | 
Wy, Wen in Cclamns, beginning al Me bltem cad wadug 

He | 
WZ We Apo Ye wa MM l, ey, MWEVCY wad ly BAK se wee Bug Wt Z, | 


Styles 2,002 and 2,003 differ only in the Capitals and Flourishes. 


CANON COPPERPLATE Script, No. 2,002. Ty ant 
b) Ib. 


Be ¢ Lhe Mi MMW EG CE Lhutaclels o } Me eo 
Coa oe Me Md L) wee deuved Jeoo / 


e 


A SOUWLCCd. adie Ob fori CHOI, “im C 


CANON CopPERPLATE Script, No. 2,003. Se eee 


a ne Che ME: 7 GOAL & @. YL 


poufbing Oe ae We. 


Ze 
174 


ye 


Lay 


STYLES 2,004 TO 2,007. |: 


Pica TirLe Script, No. 2,004. 14 ee ae 


Plate sayy that Dheuth, the Egy es cnucnted 
wing about 2722 B.C, and communioated ti, des= 
caucey g the Bing. «© Great Bing,” he sacl, « thi 
Sevence 7... the wosdem off Egy fitiany st giealer, 
end will geve them all a more Jacth ful memory. It i a 
vemedy agamsl Che diffiulluy off learning and ielaiming 
TE <The Hang ea ifileased, and satd ¢ 
eMalhe? of L2tters, thou ait blended ty thy descovery. 


GREAT-PRIMER TITLE Script, No. 2,004. 14, Pa 2 a. 

“ ipse wuhe lean ltley, wll heave te 
the letley, the duty ff recalling thal which 
they should have green te memory. Lhe 
lellers, not the readers, cememter. Thou 
hast a tscoucied nol a THREAY of TREC: 


only Ws suggestion, ”? DQDIPZ2 LZ. GC: es 


DovuBsLE SMALL-PICA TirTLE Script, No. 2,004. BS Ee ee 
how quent to thy Diseuples fhe mean, & of afr proaiing Wise, when 
they « Me — yoann, Sh ae Ws wll icad wt be oul SA nitiuchon of, Wusteis, 
and think themeaclves Leained ataut hing) of which they henew nelhing. 
. ; ; ; 5 g ; é 
fhe conuecisahen wll le nsufipolalledg ee 


: Whumphieys, Vig IT. 


FREAT-PRIMER CoprpeRPLATE Script, No. 2,005. 14 MsP ut" xc. 


ASSENT ED : 
~ a “C Zhe Decent Grechs y wieole cad 
RE, thes oy flowy Bee Meinally oreveteing 
Pa, LOO KG vet tt to Affe aad bfe, to. or ed, 
12 eo Ce tleet’ Cook Bh dios, led s OO 
iB C., LAF , ee Dey fetes, 
ly formed Cu pill aL 
Lk: te 2) Ett, egal arc Bere 
| ee he Ee. ma Ley Cand Cif 
Bin, Yin EEA LZ of Lanoluabiow ee 
Graces JCCAE™ EOE ce 


ee ee SEE 


Deu. SMALL-PICA COPPERPLATE SCRIPT, No. 2,006. 14, B34" «.. 
fee LLL A te CLIO ey, tig- 
os [EE oe 90D) Co 

bile oy eifelicid aS » few Guwiuve, ee 
COUMECE we a MEE AS, lhe ® 

iS 

ES Poeun J Augusta, Z 7B, EG. TL 
COL Dy MD, VEE ee op. LL eee 
_Ancwr wnoig) Pe ad 
ae ie 


ZZ Cc) 
y Le OPPO IPE” TERI SE -COWPE” Se 


ASENLED 
Dee. 2, 1856, 


D <n Le, F 


DousLE ENGLISH ITALIAN Script, No. ee erates 

enti ad Load» ss bom te Gl AOD fle (fle Z Whe 

: a oe A thal ob 0d ods Qote Loeasonale We Lo Cee , wheler 

fe -/ Mh Se he gee A Ee LEO) 
Wig Cit td aug tan Mol bo dC WHEE tb a GG oe 


YY leafed LC Gpiciva “, OU He conlidy, gs eee y, LOW “e eo Me Dale 


re 


1 Vie otal Lidge ¢ the Yiimetals 7 LEY ob Fe 2, GY ad We’ de. 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHamBers-Srrert, NEW-YORK. 


< 
{ 
ae P. oe ; 


- 
a 


pian, eaves Shake Sicwsnie ao a tt 
tint ae ‘- | ) ” : a saat 


AGM 


STYLES 2,008, 2009 AND 2,010.- 


Dousie EnerisH NoTariay, No. 2,008. — ai dea ri 


hike Gobo, fe Me ye td be BA ES ‘of. Sy Mew’ D> 7 biue Lids wy M0, Ma Ye dE df by 
ypepufh Ties pred at foes 4/7 6, pod ey at st wid he pe, ZA se be to } 
a aaa ia fe th oe soy A Naw ay C0! ly 4 We_wod Jo Ce Sy BA 6 byy. 0. cud , ia laa Wl 
DY, ee: ue A: pres by ey es, BPC SM jhe lip He be wud as the! wee cosa Jt0 


ff / (i . "ak - ff, es, 
fo Mec’ 0 fo ‘i lompentos pow. Ud rea Liffeeut lopies 


DouBLE SMALL-PicA RunninG Hann, No. 2,009. VES a a | 

CLs Ce Wasted Wis Z _eeteled pt, thal, Com feotetote y, Aiorwcecclitygdy se | 
ae ee: DPofpeep pete tye Big ett ‘ ose &¢fee- ALE re. é Z- eo Aa j 
ae ss tae eee es oe ee, TR Cy oo | 
CECAPZLOP2 FO iS Dibaee, pes) ie i Bos. 3 pe y Gite YA 7A 
a ES W* ete Eee & f the Cetoscreingy Str a, ya Ie Sie 


Dovusie PicA GRAPHOTYPE, No. 2,010. 14, 28, 43 Te, &e. 


(She! Consequences of Composing! Ladin! ot Latonized Hames fon! Dictahion, ate jell My 
dascuted fb Bayle pi! his Didonery, winder the heading! Souokel, in which he ay comma” 
the book f ie {abhes, one Dem, Gebel do He, Geenauld, thal Gls Printed soar a Pd 
Matheer! of Prope! Names, afer Me ceumpll of several of fui Lbaobion," — Slew aloo Madea 
Lbhes band Bblegsapbe, Seuss 1, aboid phd Guets fo Printed ab Cologne, civa “aba 


DouBLeE Gamat: -PRIMER GRAPHOTYPE, No. 2,010. 14, 28, 42 Th. &e, 


Lhe) Oervations f Bayle concerning! othe ae Si 
eo Oval Oli) eee Mf Holland an he yor bs, a j / 
Cecrshand, She prrvited here U with Piirling/ Has, for ha Fou, 
a pot es Phe! OT errgues f thes Spek Ue ee bo Doubs 


pronted WW ; ie Ponoh, IQ, and. German, Languages | 


GEORGE BRUCE’S SON & CO., Typr-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. aa ; 
| 176 hae 


P . “Ae tee ey 


STYLES 2,011 AND 2,012. 


., Dousie SmMavu-pPica IratAN Script, No. 2,011. 

Gass Minreuu, of Gop, wn the por 7 G40, deseyned @ Meu Pom o of ing Syfres ut. 
Weld and eccentuc Gapttats, tut with straight and unconnected Lower=case leblers, nol! untéhe Mase 
3 bane ad Secretary, bud of much move wngpacefiul. Hhafe Ae dedialed the lyfe bo Lous 13th. 
te vewarded him with the lille of Kings Genter.  Merean used thus fore of tye os Ue Seat- 
Heer of many tacks. Fl was used by other farrters fr Prefaces and Introductions 


DouBLE Conte, -PRIMER ITALIAN Soripr, No. 2,011. 


Blond Glial one fa os Sees eat for bs by oa 
sg th, @ pe Zee, povided ti To en ant coe be 
fatlege of Yifiening th @ Sf, ee we es ay Be ben os 


Merip1an Irantan Script, No. 2,011. 


‘ ) tasnbathia Gj odin, ti! If 9 1 , frvidited, Wi, Pe 
hee ae 


MERIDIAN ORNAMENTED Script, No. 2,012. 


a a/ Leetsaty te al’ Gooner, oe 
DS Kiel - Aibrt ia 
| | Mlaminater ofeent Gd) pe Ate later | 


i Breese ratte SON & CO., TyPE-FouNDERS, No. 13 CHAMBERS-STREET, 
17634 
a ; wk 7; 


> as 
: = 


NEW-YORK. 


>< aa 


: : te ‘ - * 
y } 
2 
a 
ie ue 
Ny te P 1 
(ee “tae 
f 
& 


+) @ 


is 


za 


A i . ; . * ht 
) | ‘ gts 8 ERAS 


pi lt 


aa ; ’ Post > 


im : 


RY 
+ io 


“Te 


Ag 
ag 


mite CYUAE aT anaes bl (is 


ie Se a bh aie 


bs regia OAs Jako. o10..20eyuntvolot off iw uoila andi 


booths iit tas Miat wrebiesan of Miiw aoolmdet boo vhod? edt yrolod. ayistiol 


my 


” pF } { ‘ | 

Ai mB esilt Teo wrth isin soreness etettsL best An oat ot tapas oh rae ‘ 
val Sips th meaee 0 ayae spoil? do vailrdipan oil wri 3 “Sarin Prat yr} 

.7 . ee 


i total moihn reo 63 alubasmtooon of fwretle t aes (ti iW “nionde 
‘ we - 


weer ees 2 roi ailitanyp ot oleae a) hoe wWermaroh ; 
Fass we i 
: 
a v 
ae “4 : Le 
BRIE ake Hr onmierrnvoh jan al) baie .owt. eoursei Moi ' i 
ees erties s ein Sel) fine owt ain tae ots. c0e-10970! soul VW La 
th BoE te ifot ainee sil) of Spire! sane rat Sr onty Oy Tw. Derg 
stant ore boy o2 Jitons bitk 4998s odt ad POT re Bite Tet LT It! yee Oe | 
nites ov teatino noi Papo) fe 


é 


kL ae DART at gonad ‘to tact 8 otathedos “rotoetads, uittivnollo) oll 
+ * «/ f & ‘ ‘é 


RN M's, ae ys 1 Wl diy ARIA WD SA 
a i. 7 % . 
ae - j i ‘ y 


ut) oly Yue sored: sodainiold 2tinig eqns to Jsot « yuryollot vit boa , 
t ‘ * : ie Re @ i a : } 
a WwW — x ~~ » NS ‘. ac x ~ N s be " TX —_ 
‘“ cy ya 4 ; 7 
Ahbh / | , : | es aS Ss vi X. wR Sutnr ~~ eo Keres wy y £ / f % 
PENS tre BN EAS ee Ree 
OVAT YP ) : , 4 , fr. ps ' oa a Pyare. ui 


ia ; Ag , a ¥ 
Ai a (f~ m ‘ > , =F P a ¥ Pi ee a? piukts: al dA tted “ al o 
5 is : & 


oye reed fondly _ Pry 4 ( y 4 


An kins neering. a oe > see oa Ad. 
vd aelionds a ae eee eo . Z v gets F 


fe nd bast aitatano ly HET ba (0k! es ila “ull fy ak 


we 


nt seihied aon! reih sae oe <gem 


Wa 


The eight sizes of Penman shown on the following pages are cast so that the descending | 
letters kern below the body and interlock with the ascenders, producing an effect like copper- 
plate. The support to the kerned letters commences much further down the body, than in | 
ordinary Scripts, thus preventing the possibility of their breaking off, except by design. The 
spacing will sometimes have to be altered to accommodate the descending letters, and occasion- 


2 


ally flourishes may be used to facilitate the justification. 


The Caps, Points, Flourishes, Figures, &c., and the first lower-case to each size are cast with | 


one-nick : the other lower-cases are cast with two and three nicks. Printers can thus be cheaply 


supplied with two or three lower-case fonts to the same font of Caps, &c., without any danger 


of commixture in the printing-office. As the spaces and metal saved are more than one-third, they 


are cheaper than ordinary Script. 


The following characters constitute a font of Penman Lower-case: 


abode fg hiphln M0 fe Gta C1 Ut ey zt? ny ly ie ae thE Yk La 


aa A 


and the following a font of Caps, Points, Flourishes, pa KC. : 


also Spaces and Quads. 


To the 5-line Pica and 7-line Pica the 9th, 10th and 11th Flourishes, and the characters 77 and 
Yo are omitted, and ( substituted. 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
176% 


STYLES 2,051 AND 2,053. 


Pica Penman, No. 2,051. 1-nick. “9itva.* 


Wise of He ae Sas 1867 


lea ite diclied ofa cottectey ate prot 

Gi anallets of manipulation, and 

Vig May requtte fom, has ere prete- 

27 Oe ind doce, LOVE, FAM CTL durfret- 

.., ee Aeadineds. of. tefevence 
f VA 

of tebowter, ae cocellant memory; and «a clea 


Za a GP. CA tfocbegs oe that A 
Mhasouugh the Cee of any: Woke 
ee fos 


WF ies Pie 
Be Cocicctou of he Eo someh@) pay 
ee Ae, hb 


PUCOVE slenty’ prtlo 


of Pe .. folie, ee aL. 
Soe ae havi ah ale AW 


IOV72E Her spp eet, arecdeeatinw 


ge ead tas gh my, 


Af te SPC tient and ‘acne? nd, and wee) 


a+o 


Qa 


Caps, Figures, Flourishes, Points, Spaces 
a Prey Saces Ae 6 Ib. 10 oz. 
Lower-case Letters, No. 2,051, 1- nick .... 3b. 2oz. 
‘Lower-case Letters, No. 2, (053) 3-nick. -.-- 3 lb. 2 02. 

Font, oe both Lower-cases.. 12 Ib. 14 oz. 


Px oN, No. 2,053. L-casr an vaccine, COREE 


ag an of ee Burl Vi? 


Gondan; 16th 


& Sls of Gia to \ fash 


6 and initiuments fuslice Mh defense “ub Ge. 

eA fives ond dace hue 
xs Mew Audited Man fis, MUM, ene 
the and sews Govwth Ma frcscnt, 

y Me afiftoachiiig 4 

SS ROMS We bss ie 
Aediow and cammencement> ls tal 
Aegutbe JWinobe fom @ “i bn fle ane and 


, tw Me mahi. 
(isl after ee. pihich IS Se Mpa 


CoLUMBIAN PEnMAN, No. 2,051. 1-nrcK. "938924 


Your ate katate C Freda! pvtetles 
I Big ie LH , Aa Goch Ghana 
of, LE ae ee 
foe pootioni) Lo, ee he. 
eS ve Ve Aypogiefhioal clack Liat» 
és fo ee Ww otyfro ap hioale jfpacedies ae 
ta is ee Vs 

daily tut Geol fo shjpudluta past, O bovond 
pryself/ Sp Hite ae dee cantilys 
ee ee SEE, is we ty UY 
comiveg) a a fwd Pee 
pre yee (fas it reed, Ly eee i 
bbs fash, cverrpel fom Mire’ acerifrations 
er of Pi ee eee 
hot eR ag end domestic oor 
celn. L lorrred VA w rad tbo wey abide 

FEE Po. ew few fined pn’ ome ae 


Caps, Figures, Flourishes, Points, Spaces ¢_ PSiby Gort 
an ATEN CM eae bE ee ee Soe 
Lower-case Letters, No. 2,051, l-nick --.. 41b. 22. 
Lower-case Letters, No. 2)053, o-nick -.-. 4b. O oz. 
Font, with both Lower-cases .. 16 lb. 8 oz. 


CoLUMBIAN PeEn., No. 2,053. L-cAsE (ONLY) 3-NICK. °93jm24 


Gram Cheus capragilica, SOLE. . nee “2 
ies ELE: MAE a Sfuely ey 
Ly Bee Wd any SE, Wile MWe AbME 

We MAld Ml. smote iff? oe. 
ee Ae CALLA oe 

ctods VOL 
fo OE OG: ally 
a Bal: Ma wilde codon Le a Vee 
oud APU LO Ve VES ea guty te 
MEOW DOTS Faguett 
MW ti : h 
2%) cigs ae Aon 
maa rere hae ‘ ” 


GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 Cuampers-Srreer, NEW-YORK, 


bea! an 


is 


VA Y V/, L Vi VA 
Ve ee Wie ee ee Uhre LS Se: previa fe nae Gua Avo A 


— 


STYLES 2,051, 2,052 AND 2,053. 


Caps, Figures, Flourishes, Points, Spaces and Quads -- ag Ib. 1 


Lower-case Letters, No. 2,051, 1-nick .......--.------ 

Lower-case Letters, No. 2,052, 2-nick .........------- 

Lower-case Letters, No. 2,053, 3-nick ....-...--.----- 

, Font, with the three Lower-case -.---.---- 
Paragon Penman, No. 2,051. 1-nicK. Say as ee acca 
Sater Gate ‘the earliest, Yutiig Che | 
Gg cle Dates was wre of ~The enttrest) Ur y/ C asters i BAVC ,| 

/ 
—~ 7 Ma 


p Y, ee YC CZ : ‘ 7 
ea. AS a } Lee CS [JeecurPeved Ongtardd ON Copper plates, Ox 4 OG Ps), Da 


VA 3 YA VA / Ze hbo y Va hfs . : 2 | 

Vy Y YA ews y, VG? Uy, y, “ : : 

JEM bto atl g 0) frowned. Sees AUONMM, aMhough fpohnion ett ighloen CA 
Tm 


NE tae and Aiifffeoséd Ao command a Asleadier -AandO) i, LIMO We he 


Yay, 
(- 


J by py / Y / Y, é 7 
Se Vig eee a AtCCOTL a edsthvow f (tt Yuieg CT vodougsting ' 


PARAGON PrenMAN, No. 2,052. Lowr-CASE (ONLY) 2-NICK. SPER 


_ Cala publshia tue Cditiays off a Gractioal Duatie on Venmanshipl) ip 
Grist) Cdlon was nthe. Clpe Wisi Cohrotrastey, onlemig tia 
Chiba, On fa eoond Chilton of ths teed, te insole neises commencaleiyy Gill 
wit and shell, Jaume 18 diffnonb, adhe, CA iponimmns of hs Tamanshja 


Paragon Prnman, No. 2,053. Lownr-casp (ONLY) 3-NICK. so ee | 
Se Gt bli MN, 7s ae Oe, MNe002s fei volumes by age te a 
Aesbibhd by Aencvildd succoldols.... CL pie wey ee Cee aga ay 
lew 1 0 end be eZ nihil of book Gr ae, suffer conti M1 
fom a mile Z “ conliaiies Mh - j com/fuailion; 10 4 Lil fund YW 
feudinee f cleike, by. Lie a Ahely bach poyitp Ue debt, of naluit Hit 

a hvieddate Fsaiad hile, and a 300, (may Me Ase Aft; Ue Me Sik of. “Ue 200 
decoustd, and wat sayhy off, Cusine be FO, a iif. pe fe 
dead, and yol nih dead, for he Jilh lift a sone) Nicteard de 


GEORGE BRUCE’S SON & CO., Typ-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
178 


STYLES 2,051, 2,052 AND 2,053. 


Caps, Figures, Flourishes, Points, Spaces and Quads .- 13 Ib. 4. oz. 
i 


Lower-case Letters, No. 2 VOD Me elo eee eee oa 5 lb. 12 oz. 
Lower-case Li etters, No. 2) O52 2-11. Gigas ae ee ene 4 1b. 402. 
‘Lower-case Letters, No. 2/053, Orlele-! Sheree eye see _5 lb. 4 02. 
Font, with the three Lower-cases ---..__-- 28 1b. 8 02 
Dousie Pica Penman, No. 2,051.  1-nick. eos 


Mow POA MAedwice. Of pane boon eh the Clement 
ita ateve YO yous, ond D, Ves: aa es. Vi 
Aad ar a welluntther de ae that Ot tys WOVE 
| as cepectally? le you, ee Ce You 
aoe preotaidl Ae ged chaige wn bagel? fe’ 
4 weep ee lowe es ge of Ih. M72 


ee ee ok desvtie ppow nel flo 
ME, segs b oi 


DousitE Pica Prnman, No. 2,052.  LowrR-CASE (ONLY) 2-NICK. ST 


| Ex is “oid Op, la. 00 7 vA Lh sa ve of (Gai de ey) y UD Si Me 
| 6 Sorccichs of) the Cnt A brthweip (gfe yy 
Se C. Ye 15th day off Wi gual, a) Mote Oban 
| Oe inns, in Me ee he, fan 19 esount, Ye fronen 
ttt Gy ae ba Yolen Ae Bop ae Y Bis sort) Pah, whe pi 
frcrnibe lo fray ad Cr of LL, Y ab deculsly es tts fpucldow and goods 
ez. Dp or. voyale fi , ns a, £, Dp gS 


DouBLe Pica Penman, No. 2,053. Lowrr-CAsb (ONLY) 3-NICK. ae 


9 Grom Me WA a f° Villon @ G Gawu Yt me whe ti 
Oleu: on Ay tit, and begie oS We se Seon? Sounds 


Va ate Mit f | Ou ass Me Comp oi; i? Mb fl of 


. 


1A oa re Conuetsalion; he i eee f quant: MOM 
ib (Yash jb wel 9 Ganda “Yi; Milas 6 OG y, y “ihe 044, 


Va) 
2 ee ue dl tn (pews ip foe AG Vag ayiziie a) an 
3 few eh gomlnwtan © Vista VLE MIt hy y “Ahh 4 yy, LLL, 


I mi 
J 


GEORGE BRUCE’S en & CO., Typr-Founprers, No. 13 CHAMBERS- STREET, NEW-YORK. 
129 


i m ‘Fe +t | a * ~> | “4 ey 
5 , a 


~~ ’ Na kc? etal, mcg oy Set 


aa * abate a aa 


4 


x 
a hea 


i: 


he ae nea ss ® hs 


STYLES 2,051, 2,052 AND 2,053. 


Caps, Figures, Flourishes, Points, pares and Quads - 
Lower-case Letters, No. 2,051, l-nick .--.-.-.-.--.--- 
. Lower-case Letters, No. 2,052 52-nick = pes=-se acer eee 
Lower-case Letters, No. 2,053, 3-nick ......---..----- 


Font, with the three Lower-cases ....----- 


DousLE CotumMBIAN PEnmAN, No. 2,051. 1-NiIcK. Breen Ope 


eZ wa cudtlomnt Cx rae oo O72. 


AV ee ay Lite ise. COALCD , 


: i COU a E CU TLC 


Se ae toe Asands ft 


DovusiEe CoLtumMBIAN Penman, No. 2,052. Lownr-case (ONLY) 2-NICK. AS 


Ga bul aps lof tee ob 1, Leuk tins, of (ee Mn the oa TO b] 
ade JE Dotujed G ypat, Lop vA ve nlendéo , a A iil 
4a «_ mod J fo en 
FZ, L. poet £ 


adie teiul a hi 4 eunvcde d execmftrlatie Y OW 


Y, A ji ) 
fe A YE fot t/ ; X é 1) il 
Ufiful cndie a se: COV ~fUi0e!. WE Sy Paes: a Be UME 


DousBLe CoLUMBIAN PENMAN, No. 2,053. LLowER-CASE (ONLY) 3-NICK. Sona oes 


A Cbd Cuma f 1 Va tbh Can 
Yi aa te Oye C4 Lie of Vide f. 
Mil sea WEE it A hid min | 7, 
ae Whe ee, VA Uh hotd’ 2 
gles valle yy, juice dnl Ye Mile of Pe 


GEORGE BRUCE’S SON & CO., Typn-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
180 


) 


STYLES 2,053 AND 2,054. 


Cay igures, Flo 
Lower-case Lette 
Lower-case Lette 

Font, 


a ee See 
| a Vy oy LB ee A, “teamed utube ee D 
| a V, LG Ly ee / f a 
Bio hing Finliiy’ MM VD les y Gio, MG fe : 
Be fron: Wiul a OT, Wit J] 1 bot CH) Vi 
(Bichon tebe wn Ub, 
Je Ghd) ff CE ton bo Me We —Whul Al we8t Up MV 
Va ” ei Mh) . J YY 


| 6 a son a eee 
ay Bi yy Wi Wife) ( J tMnuls Sele 4) 


= A010 wind 


= 


) MeripiAN Penman, No. 2,054. LowEr-CASE (ONLY) 2-NICK. pean 


SS 
Tee DG Deh y / Yp oe Pili 


Voom MW whit W 


L,, % we ia aus VA Deh “7 ee hind 
VA 
CG Mihi), 0 fo } hile Mike Owint 


il Wf tod Ae vont VIL 
Cypha tht). 50. 7 


/ LG at 


Diopoil WH) 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
181 


IN tomo 


i 


vi asi 


STYLES 2,053 AND 2,054. 


Japs, Figures, Flourishes, Points, Spaces and nae ads .. 21 lb. 0. 
r-Case r a, 0 -nic Sue te . 


Frve-Line Pica PENMAN, No. 2,053. 1-NICK. 


Y, (abitig A | 
sail tie ( Dra a Y yy 


og 


BD Mh Cathal 7 Jif 
Mish hy alli My ah Ma 


WS fr Mn / Edit ge dda | 


) 


GEORGE BRUCE’S SON & CO., Typn-Founprrs, No 13. Caamprrs-Srreer NEW-YORK. 
182 


Yt) Y MW y he & 


STYLES 2,053 AND 2,054. 


Caps, Figures, Flourishes, Points, Spaces and Quads -- 39 Ib. 8 oz. 


Lower-case Letters, No. 2,053, I-nick ...........-..-- 16 Ib. 10 oz. 

Lower-case Letters, No. 2,054, 2-nick -.....--.---..-.- 15 lb. 2 02. 
Font, with both Lower-cases ..-..-.-.----- 71 lb. 402. 
SEVEN-LINE PicA Penman, No. 2,053. 1-NICK. Sas ee 


4 
Ly 


SmvEN-LInE Pica PENMAN, No. 2,054. Lowmr-cAsm (ONLY) 2-NICK. ae 


GEORGE BRUCE’S SON & CO., Typn-FounpERS, No. 13 CHAMBERS-StreET, NEW-YORK. 
183 


, at D> ne 


og Hawenls 330 +epriae | 
msec avis: | . 


mpi T- 0 ' 
‘Bi hhh a ; re 


pao: Pia So . ie ae ; 
eT ae . . | "3 . 


Lies 


se 
iz 


PIITGS LOI 
pene | ’ j TET LY 


( - : | Loc 


wot. eiptih es il) 
a] 
it 


vk aa 


STYLES 400 AND 500. 


NonpAreIL BuAck, No. 400. SO aan 2004 
Brake, in his Wistorn and Antiquities of Boston, page 421, thus Deseribes James the Printer: Another notorious apostate Hho had the address to sabe his neck from the halter fas 
James the Wrinter, an Indian Who oentured to surrender on the strength of the JProclamation... After Bing Philip's War 1676... We had professed Christianity, and was skilled tn the art of | 
Printing, Dut he beeame a notorious apostate, and, like a false Hillian, rat away front his master, and became chief scribe to the hostile indians. On profession of penitence, his 
Life Was spared. lit sain he was the only man able to compose the sheets, [topes,] and correct the proof of the Indian Bible. We learned his trade of Samuel Gereen, of - 
Cambringe, and followed the printing business until 1679. We was employed bn the Society for Propagating the Gospel among the Enbdians until 1708. We died 1714. | 


BREVIER BuAcK, No. 400. LS oe LonG-PRIMER BuLAcK, No. 400. eter 

HAercurius Bibrarius, a faithful Account of all Books, EAH at has once Passev the Press is Mvre- 
FABCBXNXN., All Booksellers are Vesived to send to us, ae 
the Anvertakers, any Book, Pamphlet, or Sheet, they would pocable... A Printing House may properly te 
Habe in it. They will expect but Strpence for inserting any compared to the ¥nfernal Regions for facility 
Book, and Twelbepence tor any other Adbertisenvent relating fe { 
to the trade, unless it Be ereesstbe long, of entr we. . Sant, Pohyusow v1 the Rambler, ' 
Pica Buack, No. 400. yA ie . 


Cardinal Bellavaiw was so provoked with the blunders of His Printer | 
That he rewrote the copy, and sent it te a famous Printer of Tenice who returned 
Printed Copies with more ervovse than there were in the Hirst Loition. | 


GREAT-PRIMER BuacK, No. 400. Ee | 


Bernard says that German ECvpes, ov Black Wetter, 
ave corruptions of the Roman Face. | 


Kevwiaes woula wot gave Roman Twpe. 


DousLe GREAT-PRIMER Buack, No. 400. 20 Ihe 12 on 


ILC Champ “, Mavis 


Meri1an Brack, No. 400. ae Four-ling Pica BuacK, No. 400. *"s ane 
;REAT-PRIMER FP K AN. IN j 25 aand 8 4 ; 
GREAT-PRIMER BLACK OPEN, No. 500. Ate Dovusie SMALL-PICA BLACK Open, No. 500. "?s'0"6 on 


Reevs were used before Quills cae witth 
Ouilts. Paper. 


DOUBLE GREAT-PRIMER BLACK OPEN, No. 500. TORTS 
=. Grpphi ius a Prtwter, 
MERIDIAN Buiack Open, No. 500. Sapte Four-Ling Pica BLACK OPEN, No. 500. oe | 


Simonve Colines 


GEORGE BRUCE'S SON & CO., Typx-Founprrs, No. 13 CHAMBERS-STREET , NEW-YORK. 
184. 


STYLES 401, 501, 502 AND 503. 


Brevier Brack, No. 401. ROCs ee oh LONG-PRIMER Buack, No. 401. Sr ertos: 
ee’ a trict perioy, took the leav of all Swepnheim and Pannart;, first Printers in 
| Guropean Cities in Book-Paking. BWernard says, detore the year Rome, ina Petition to the Pope, dated March 20, 1472 
FAD., there were tn that City Two Wundred Printing Offices, ®ave the Gitles of 38 oats rinted b ‘ 
We estimates theitv production at Two Willion them bet ihateti ih Q 
Copies of Books and Pamphlets, Me Sp he nae abies 
EnauisH Buacx, No. 401. eee sae 
Pica Buack, No. 401. aes 


‘ coo Of most Books, they printed 275 copies; of 
Competition and Civil po reduced the Hany, 550 copies; of a few, $25 copies; of two books, 
Mapper. an AG0U, there were a Printing Offices. LAO copies. Readers were then Sew in Number. 
In the XVIth Centurp, Waris took the lead. 


DOUBLE SMALL-PICA Biack, No. 401. 734,34 


GREAT-PRIMER BuAcK, No. 401. gpa onde 


5 lb 9 


J 
Swepnheim and Pannarts, in 17a ; St is thus Plain that the . 
Said, in a petition, that then had printed Colien of the Roman Printers 
More Books than they could Sell. was 275 Copies. 


S1x-LINE Pica Brack, No. 401. eae yi 


I. De Spira, Printer 


| Six-Line Pica Buack Open, No. 501. 10 Ibn 4 on Srx-LINE PicA BuAck OPEN, No. 502. bea sand oe 
Cc het tt 
OKCN. tions 
| Pica Anato Brack, No. 503. 30 a and 10 A | GREAT-PRIMER ANGLO Brack, No. 503. 73°53" 
Nicholas Jenson, of Cours, France, | N. Jenson designed a Ffoodel 
he Best Printer of the 15th Century, began | Roman Face. All his Characters 
: fePrint in Venice, A.D. 1471. | Cut on 73 Punches. 


| 


DouBLE SMALL-PIGA ANGLO Buack. No. 503. Pena eo 


inde Torresani, of Asola, became the Uwner of Jenson’s Uffice 
in 1487. Aldus Manutius married the Daughter of Corresani. 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No, 13 CuambBrrs-Srreet, NEW-YORK. 
185 


4 


' > 
q 


2A. JON eesoyoue 
bevitongy AB e666 AL 


‘ 


“0% > ‘ens i, 


a 


Barts naw 
4 fi Ing en Gash wt a Te . | . iMigh 
J - ii Bp rsieouites ts TEU hSacirg ; % 
be ray Bis! fue 9) | . | 


4 v . 


t. 
: 7 : ’ ’ ‘J 
Ree | f r oF PF 
peut 1% \ a / . ¢ 
i H . a 


best ACLUTT if i MTT. 11 4D ) a ; 


tery ft ; Rite Pi te 7 
} 7 : on V i a J “i fy 
Wil} 2 is | ALM Ly it uv i a 
gyi Tih fh Sy We eee rit HE 1p 


i» it; siryany etait ) a hy ; 
vip, winds ayaa i TINT a YE OT hth ull Ie ate ail 
insta: aro oyun ae om aidiattte oat Bl duis dhe ‘ii! ie 


ny % HON Mecetigs) wetaeee 

E ih. hi | infin iy i 
mitt 2 oy a aN ait ‘igh 
ee 


le 


tate ~ a = 
oa 
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= <a ' wht, 
; a LOPE De 
i. ~ pee 3 


STYLES 504 AND 505. 


Brevier AuGcustTaN Buack, No. 504, °94,4204 


Thow hast most traitorously corrupted the vouth of the realm, wv erecting x Gram- 
mat School: and foberens, before, our forefathers bad no other Books but the Score 
amd Tally, thou bast caused Printing to be used; and contrary to the Ring, bis 
Craton, and dignity, thow bast built x Paper Aull. Ft toll be probed to thy face 
that thou bast men about thee that usually talh of w oun and w Verb, and such 
abominable Words us no Christian eber ea endure to bear. Duck Gude, Aing 
Henry VI. Fd part, Act 4, Scene 7. 


RICA AUG US TANS BLACKem NOmso04sNNe sieaoues 


Che Clerk of Chatham can torite and read and cast 
account... te took him setting of bop’s copies... 
He can make obligations and trite Court-band. 
Sach Cade in Ring Henry VI. Act 4, Scene 3. 


DOUBLE-PICA AUGUSTAN Buiack, No. 504. AO in and ee 


ddlrite tt ma martal band: He curst and brief. | 
Caunt bm twith the license of Ink y . Het there be Gall enough. 


i 
7 


LonG-PRIMER AUGUSTAN BuaAcK, No. 504. 434 ond 14 A 


\ 
l 
ds wot this wv lamentable thing, that of the Skin of an doe! 
Hamb should be made Parchment? that parchment being seribbl 
o'er, should undo a man... 9 di9 but seal once to a thing, and’ 


fous neber mine ofon man since. dack Gade in King Henrp Ve 
Art 4, Scene J, 


Great-primer AuGuSsTAN BLACK, No. 504. 23484 
4 thank God that # babe been so 2 tuel 
brought a that a can torite my name 
Atay with bim, 4 sap: Hang bim 

with bis pen and ink born about bi: 
neck... Act 4, Srene 9. | 


\ 
i 


LONG-PRIMER CHurcnH Trxt, No. 505. 4°""$14 4 


A Boston Printers Aduertisrment im VZ0F. Chese ave to give Botiee that 
there lately tame from London, a priating tg Press, with oll sorts of 
Goad new Letter, which is now set np in Pudding Lone, near the Post Ofire, 
in Hoston, for public age: where oll persons that have any thing to 
‘print Moy Le served on teasunable terms. Boston Bews 
Letter of Bohn Wen in L707. 


GREAT-PRIMER CHURCH Text, No. 505. 25484 


And. Stawell, LHL, on the Mischiet of Arinting, 
St wos a hoppy time when all Learning 
Wri in Mannsertyt, and some little Oficer did heey 
the Ateys of the Library. How since pee 
came in the Wark a ia the stigchiet 


Dovusie Eneuisn Cuurcn Text, No.’ 505. 


Usnww ott howe they (Cages) boon galled aut... 
{drow howe a trek to fasten in... 0g um, : rutting, os tolkotine og ener, 


ENGLISH CHURCH Text, No. 505. “95;aueme | 

Carton’s Uuertisement.,..3f it plese omy mon, spivitiel o 

teinporel, to bye une pyes of tun or three | 

Cumemarariy’s of Salishart we, aaa after the forme 
ut this pres’t Lettre, which ew wel and troly coveect, 
let hyim come to Westmouester in to the Almonestrye 

at the reed gale, and he shal bane them good chepe, 


DousLe SMALL-PICA CHurcH Text, No. 505. 2,458) 
Cun vr three Brawny Fellaws imo 
Caraer, with mere ink Z elbow grease, do mote 
harm than a bunbeed Systematic Dives. 


md 8A | 
| 


20a Was 
FT Tb, “10 


rt these Wavealle by Opecatars at the | 


GEORGE BRUCE’S SON & CO., TyYPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


STYLE 506. 


| Exerist Conpensep Brack, No. 506. *%4sn204 DE Parag CONDENSED BUACK AN Gy O00 tated 
| Here lies Jodocus Badius Ascensins, Hic hibecorum plurimorum qui parens, 
Father of Many Children, | Parens Lrdvorum plurimorun qui fuit, 
Author of Many Books: | Situs Hodocus Hadius est Ascensins. 
His Books were more Numerous thaw his Childven, | Alures fuerunt hberis tamen liber, 
Because he began as Author very eacly, | Quod jam senescens ceeprt los qiqnere, 
As Father very late. Actate flerens capit bos quod edere. 


Dousin ENGLISH CONDENSED BuAcK, No. 506. 


MHernard says, the Crades of Compost av and Adressman tere grater 
In the Infancy of the Art. Carton saps he had to Pav for bis Instruction. 


DouBLE GREAT-PRIMER CONDENSED BLACK, No. 506. 


Adladden sans that, in the Herorw Age tf 
qrinting, not Hons, but Educated Went vere ha t the Art. 


CANON CONDENSED BuLAcK, No. 506. 


Mic. Chandellia, Hook Lublisher, Rome 


Srx-LINE PicA ConpENSED BuAcK, No. 506. 


Sst had an Agent in Maris 


| 
} 


Ergu?r-Line PrcA CONDENSED BuAcK, No. 506. 


eSpuis Patent 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS--STREET, NEW-YORK., 
187 


hy eZ 
hy or ite 
CS a) = Ap tae yh yu 
(= Spe pee ee 
ve 


‘4 ‘ 
Fa 


4 
t 


Hi 90 ieee “Vite he 
ences ean LnNtCOk ot ne 
ALN ns unl iF amiehe 5} 
(6 La sce Ms a4 Br 

aie enoleds Fon aise a 
raul OTE wy ulead if vail 
ain) W738 ViAl).® af ar P 


Te 


12 


1D on) ane » tee 
dito a 


na ei ee? 
nl 


cuininolh, fae 


Ce ho isccigtlyisT Te. 


' 


STYLES 507 AND 508. 


Lonc-primer Conprensep Buacgk, No. 507. 493,244 


Observations and Suggestions of Roger LD’ Gstrange, 

* Surveyor of the Hmprimery wand Printing Dresses,” to Charles 
the Second... One Great Evil is the multiplicity of Drivate 
Presses and Printers, who for the want of employment are 
forced to play the buave in corners, ov to wait bread. 


PicA ConpENSED BuacK, No. 507. aa 


Ghee Remedy is to reduce al Lrinters and 
Presses toa Limited dumber, .. 


snd 10-4. 


ti 


i 
i 
if 


Let the munber y 


Pourneymen and Apprentices ve limited... Blaster 


Founders, Howrneymen and Apprentices also. 


GREAT-PRIMER CONDENSED BLAcK, No. 507. ST aa 


Let a Special Cave be taken of Card Makers, Leather Guilders, and Quoyt neni Let y M 
Gradesman presume to use a Lrinting Yress but upon the same conditions as Lrinters, 


DouBLe SMALL-PICA ConpDENSED BuackK, No. 507. 7° °1°°%4 DousLe ENGLISH CONDENSED BLAcK, No. 507. 


Let no Lress be evected, no staterials 
bought, without HMotice and Permit. 


73 Ih. “12 0, | 


Che ItMaster Printer’s Presser 
must be in his own Suc | 


DouBLE GREAT-PRIMER CONDENSED BLACK, 


Arinting-Lrouse 


No. 507. 


ne 
Ob. ote 


Aevnitted with a Diack: di to i 


Alo 


LONG-PRIMER Buiack OpEn, No. 508. 494,144 


2 th. 4 
Let every Master Printer be bound, at least, if not sworn, not 
to Drint, nor cvuse ov suffer to be Printed in his Wouse 
or Dress, amy hook or books without License, 


and 10 A | 
“3 nb. 


Let every Master Drinter cevtity what ure 
he beeps, and not Change them without Mother, 
| 


Pica Buack Open, No. 508. 


Dovusir SmAni-pPicA BLACK OPEN, No. 508. 7°34} 
aU al Wy . rs O56 a a 2 
GREAT-PRIMER BLACK Open, No. 508. 5 428 | 


Let Persons employed be of known Integrity Alo sournenman Cmploved withomt i 
so Near as may be... Vole in their Trades, Certiticate trom his Hast Master, 


. | 


DousLe Eneiish BLACK OpEen, No. 508. ss 


A Sontney nan may Meave his Master att 


da 
8 Ib. nian 


ter Cia Werke ag | 


DouBLE GREAT-PRIMER BLACK Open, No. 508. pois toed 


9 Ib. 


Go the Informer of Unlicensed Rook, Five Shil king 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CuamBrrs-StrEET, NEW-YORK. 
a? 


and 7 A 


STYLES 509 TO 512. 


EIGHT-LINE PicA BLACK OprENn, No. 509. SOS 2) 
vil 
SEVEN-LINE PicA Mopern Text, No. 510. 3,042.4 SEVEN-LINE PicA MopERN Txrxt OPEN, No. 511. 337%2.4 
Ere@ut-LINE MopERN Text, No. 510. she 2. EIGHT-LINE MopERN TExtT Open, No. 511. Wwe &. 
TEN-LINE Pica MopERN Text, No. 510. ° "4#4,° “ | TEN-LINE MopEeRN Text Open, No. 511. ° 4374,° * 


aand 3 A 
oz. 


EIGHT-LINE PicA BLACK ORNAMENTED, No. 512. eee 


Gob 
1c 
WS 


OF 
GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHamMBERs-STREET, NEW-YORK. 
189 


Weta Lea) Boar 4 denne 


on anihinw Sates Se resets D ol] Rakaee FUNPaNy © One c. : : - 
tng : : . 


POA ga JW alt ound Soret \ See ee er Bhie Pe 


~~» 3133 & over so se ae ier) ia ed ey TT : - ‘ — : ¥; 
St Pesta SD nt bird te ticety SS Res ' 


Hesclus gui Sits qQrtas ; 71 ssisve fi 
“ é 
t [ee (bet 
“he 
~ a 
i = 
> 
ais j ‘ ; 
ae atsbt, 097 BAL Cian l'Rs 
J . - sn & 4 \ 
Srieetwaitteareo DY writ SOOT C9 tas , 
bbe fae 
a“ 7 —? - ¥% - : - ‘, : 
sad ox? stisi m= pa,t¢) ioriim anit ~ereceis Pleased. tay 3 —- : : ch ; 


hain Tisai wasy a yom distri raeereiot. 


be ss 41s EX: feral - mice pei-ar3 if =i? rrerats 63 “gs see io vu rs > 


aterscs Javzaa-verw atte: Thet-tatetes = j isa ines +43! é be 


Sasa! 83313 332s ti °s/ Ts +1 roms dee?) 7233 


ealayo JF saathts sak hoe 


mri wf ~€ a4 a? { pre rs ce SS s- : i, I st tes <x}1 at ul 


° ot - 


Ppecsr Tels EX -<;  maurrecestestassegsstaurrrrsrsy 


» 


a 
7 F 79" : 7. 
a ee ; assrrazd cist /2 3 SF ERAT ET BST 


trartecnstea Eo osaraeleasVA Avro ee 


eas ae oO: ME rid railart 


cate Pit. ie ss eee pra Avs iim « ee 
: Tine 4 _ y er Sine i 


STYLE 513. 


BREVIER EXTENDED BuAck, No. 513. °Siyni724 
MARBMAUDURE JOUNSON, a Printer of London, 


wa Sent to Weert icu in 1660 to ussist im Printing the 


LONG-PRIMER EXTENDED Buack, No. 513. 49274734! 
Dbhe Commissioners, weiting feom ‘New 
baven, the 10th Sep., 1660,” Sau: (‘RX Shei 
of Genesis wee bave Seen... be Peintee 
doubte not but ta Print one Sheet ever 


Weeke, and compute the whole to amour 


fudian Bible. ai Wiee desire you, at the earnest Peyquest 
of MP. Jabnson, the Printer, and tor bis fneuPragement 


in BPinting the Bible in the Indian Ranguage, big name 


may be mentioned aS a Printe? and person that bathe 
Line inSteumentall therPin; for whoSe Diet, Lodgmyg and 

— Pe ee i pm rez == a .s ~~ QD Ty 
Washing, we desiPe you to take care of. ta 150 Sheets. if 


Pica ExTENDED Buack, No. 513. ere Oes 
du a letter dated Boston, Sept. 10, 1662, the Comunizsioners Say: 
“Ube Bible is now about balt done, the other balte iz lke to bee TKinizbed nn 
a Nieare ms fra Marmaduke Jobnson bath proved veru idle and Noughbt, 
and avhsented bimselt frown the Warke more than atalt a Neate.” 


GREAT-PRIMER EXTENDED BLAck, No. 513. em 


7 Ib. 12 02. 


Marmaduke SJobusoan atterward Peinted, in the 
year 1675, on bis awn account, Inuerease Mather’= 
Woe to Drunkards, «a Quarto of 16 Pages, 
and Nine other Warks. 


Downie -Proe Exutoes Bot maNOmerS 2p ot 7 
Witle of Pnudian Bible, 1635, Mamuze 
Wainertupanatamwe Up-Gibliam Gio 
naneceswe Nukkone-Vestament hak 

wouk Wusken Vestament. | 


DovuBLE GREAT-PRIMER ExTENDED Buacx, No. 518. "sou 6 


fucdian Gible G6 Years in | 
ress 2. 000 Cuopics were 
Printed tor Jobnu LKliot. | 


GEORGE BRUCE'S SON & CO., Typr-FounpErs, No. 13 CHamBers-STREET, NEW-YORK. 
190 


, 


STYLES 514 AND 515. 


GREAT-PRIMER EXTENDED BLACK OPEN, No. 514, Se 


: Beaewaldgen’ & Siatue in beonge nf Subn Guienhetg, 
was etected at Ment? in the vear 1839. 


DOUErE PIC Haran MORB LGR Orn CNOwSL4 20 4 and 7 A 
ogee s Statue tn Ranurens dansgoon 
Guster, danrlem, duly 16, 1056. 


DovuBLE GREAT-PRIMER EXTENDED BLACK OPEN, No. 514. ra aod Ge 


Beanklin Statue, NX. 1872 


DousLE Pica Text, No. 515. DORN? 
| ee lao ares, 3 bale : é 
AanbroiseeFFirmin Didot, ot Burs, said, in “1840, that the ={Jrinfer who sells his work af an advance 
| 2 YZ ra j : ? B 


“of only one-half on fhe cosf of labor is sure fo fail.> 


DouBLE GREAT-PRIMER TExT, No. 515. 15 sand 6 A 


if : Px@ Q 
Pousari’s Beto in 1825: (eo Compositor's charge for Composition, 


add one-fourth fo cover the cost of the Feading of the Proot.- 


Canon Text, No. 515. ae rae 


( 0 this (fofal, add one-half... @/ppoaraphia, page £193, 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 
ihe Ml 


eT 


* Es) 


pues erly st et Eh Tlic cul j aeern sco t15 SarreYrc”’ a2 ‘te Tear £ 
. u 


: f eh “ead * Preah re hvtisacss miyve** 


: 
‘ , * é . 
¢ “* - i t 4 gar - { a a. ee 
y Papo ie ie Ge ] or, : if ] 4 J ! (os * 
Psi 
> Le! 
my % é. 
Hi Mia pi bide eit 1 tobif] nin 9 
i ¥. d 
i ' ae &: sodatea acy aft ag thar Si hep fey 
‘ : ‘ 
*~ f 
| 
4 onl) ofanott 
se ’ - ” » 4 ort ‘th 
, ya, an — Sennen © ‘an ots ; 
MOA OtHIG 1) ; mihi}? -# fOTAOU ILO 1) (} 1) -Ccal it hostta ff < DT 
+ iW aM. 
+4 


bead 


ull to taoy oylt tos of ptioteapto ph 
i 


405% opsq sidgorgoqa yy ... tsjl-o0 bbs fate ve 
Sf > , tg ory Fe 
- gies ae 
| ANOTWAG rueret ss Pemsaronitaticy 4000 08 " eg 


= 


meets Arivntt ase Ania on not 


‘ 
eal 


sane Fo eKhain”) © vee 


me tainis't eid 


ie 


STYLES 516, 517 AND 518. 


Dousne SMAtn-PIcA BLACK ORNATE, No. 516, 7 smi 4 Dovsre SMALE-PIcA BLACK ORNATE SHADED, No. 517.°3i%2) 
€o Make his Books Salable in Northern | Giobanna Dt Golonns of Denice, [raises th | 
Encope, Henson tvas obliged to se ‘Black ilietter ot his Printed books is | 
Black Letter or Pointed Gotbic. | & Most Sublime letter, 

DousLE ENGLISH BLACK ORNATE, No. 516. 34,5197," DousLe EnGuisH BLACK ORNATE SHADED, No. 517. 73 i747, 
Grich Gering, Paris, wis also Perbort saps bis J Black is the inns 
obliged to Discontinue Loman | Abavirable Ccactr Hnoton, | 
rnd Levert to Black Letter. | Gxcelling all other letters, 


| 


DousLE ENGLISH TEUTONIC ORNAMENTED, No. 518. 
| 
i} 


Nidolas “Wrevest, of Waris, said it 1393, 
vas the “Wlost “Beautiful Hace d 


jis “Black 
Che “Wlost Graceful Kora. 


DouUBLE GREAT-PRIMER TEUTONIG ORNAMENTED, No. 518. 


Chevalon, of Waris, 1520, said 
Sis Whack Vetter was the West Vlegaul 


Sorat 1 Use. 


CANON TEUTONIC ORNAMENTED, No. 518. 


Like Wankon' S, Bruges 147 


GEORGE BRUCE’S SON & CO., Typu-FounpERs, No. 13 CHamBrrs-STREET, NEW-YORK. 
192 


rie 


STYLES 519, 520 AND 521. 


GREAT-PRIMER SAXON ORNATE, No. 519. 


Ghe pit 2 Dutch Penwsylirania as hw sesenl avelling, Philately 


8B 
os 


DousLe Pica SAxon Ornate, No. 519. 


i eee insetts =). ut Vearle uf Fiberty AN urrester. 


Stone 


) 


DouBLE GREAT-PRIMER SAXON ORNATE, No. 519. 


a3 rat Gureties alt qr iwagton 3 A buevtise 


Le Xe) wo 


GREAT-PRIMER SAXON ORNATE SHADED, No. 520. 


tt Boveri g vilabelybische Staatshote, hu 3. Ail ler, Piilobia 


Dousi® Pica SAxon ORNATE SHADED, No. 520, ie 


South pelins & American General thazette, RA U) pelt 


DouUBLE GREAT-PRIMER SAXON ORNATE SHADED, No. 520. Tee 


Betinonss 3 HMerenen anh Wi ably 2 


GREAT-PRIMER SAXON ORNATE SHADED, No. 521. 


‘he ptican dlagaaine altub Histavical ol heowirle, hy a ma a atiehart 


SA 


poe Pica, SAXON ORNATE Bo No. 521. 


© Baltinunre it lheriitser, oF. ( (Gostash 


DouBLE GREAT-PRIMER SAXON ORNATE SHADED, pee 521. CSP 


nieuw és wal Sal (elu Dobie nee ta Hau 


= 
e MERIDIAN SAXON ORNATE SHAD ED, No. 521. 


hany ae ia u, BY. & & Garton 
'@ & 


ZS 


avuland eine! nal 


wx 


- 


Ea) 


| 


| 
g. 
. 
: # 
Pe) 
Fi 
' : 
7 


e) 


“© 


- GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No, 13 CHAMBERS-STREET, NEW-YORK,. 
193 


p. oy ee! ree o> & 

- Coe EAE ore 
i is Sg Cas 
4 thee 


2 F 
AA +P 


i.) 3 aa, Ark Akt be A denne. be Bes 


igcra ike uit dys it all rinniyoninke a) 


ua 


= 
? 


{ 
fi 


Lore (VERE wey oe aren + 
“Fy shui if ue faite . 


3 ifdef shen ‘1 if L aftusuad va 
) Rud 7 tank “m eal ane 


Eb }) Levins 0 mainte ra fe! ined 
idee ida tie saree ‘raul of 


y 


ity tr rare ; ©. Art wist- oY ‘ oy , , ; ‘ 
’ * = * 4 , 7h i ' 


ile 1a. haat i} Haig 2 its end The ae 8g ce ib 


| | Pte ia Te earn: craigs LE if 


Nx ’ 


j i se ‘ 
ie noe cebge (MLR ed des ge Ne i a ‘ if Ch ; 


A, eh Aida} mgenhndin) ol Sy aithawnZ 
E's eth gan oh Ly whinglpls ko in 


Se bf Gooiph PTindN wagolenly 
Ksyym i {Oyo} eopne ono OS 


Pt) ae 


ij, i 4 : Hae.&¢ 


ect Sane 5’ @ = Gi a= >’ + Bary Souk 


é 
Lio 
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‘ 


my ag? i ae 


STYLES 522 AND 523. 


GREAT-PRIMER ITALIAN TExT, No. 522. 


Sntiong Barot, Hirst Urine in Milan, hat a Gartner, “Barn agreed in make us Bayes anf he ae 
Be Pour Bariners agrerh io dermis We Moun. Shey tegan work with Bowen Grover | 
which were most Jargely aera in Mrinking we Palin Glasstrs, 


: DousBLE EnGuisH IraAuiAN Text, No. 522. ans 
Cre Siecestzatic, Gobriel te Orsini, who wes Brenanrer of the delitan Sine os, mas qa 
til th One Goon of Seuery Bork Hen “Mein. = Be Gorrettor ant the 


Neoot Qteaiiers were alae gait with “rintet “Books, 


| 
} 
| 
DouBLE SMALL-PICA TEUTONIC SHADED, No. 523. 


| 
Unthony Barot beqan to Vriat in Wilda, 1470.  S3e sais titi! 


1500, when he Died. Sis Correctors wore Vhilelpus and Dualcinio.— 


Dousie Eneuisn Tevuronic SHADED, No. 523. 


o— 


Lavagia and Woitanirs, a (473, sade a ‘Coutsal 

with Chris. Valarfer for i use of 2 Vresses. — 
Shristopher Baldarfe t “agreed fo Set-ay 
20) 2 


Solio Yages for 24 Buperials. 
Sie Sopy of the Decasiecl 
201d for 2.260 pounds. 


GEORGE BRUCE’S SON & CO., Typn-Founprers, No. 13 CHamBerrs-StREET. NEW-YORK. 
194 


es 


STYLES 524 AND 525. 


DouBLE SMALL-PICA Mmpinyar, No. 524. 


—-Oherefore X ate WPractpfed & Lerned at mp grete Gharge and Ditgeat fo 
Orbepne this Said Book in Jrpnte, after the Manner and Forme as pe map Here 
ser, and is not Greton with JPenne and Wnke as offer Bookes ben... All 
fhe Bookes thus Enprpnted... ere begonne in on Dap and alfa 
Epnpshed in Oon Dap... William Garton, cirra 147]. 


GREAT-PRIMER ITALIAN BLACK ORNAMENTED, No. 525. 


_ Bay to ox the Soul of tgs oe ae axto rt, @ 


x XE5 
SAY am as lap « =| ~A >) rama 
SGP ~ 


; “REE 
4 ‘ / La : C Js : r, 1 eget See LF” || 
4 € I) OL OSP ‘| o) Tae ( Ce ae II: Vm & re ) 
SS Z | a } ee UC \ i) ) Owl Gal Ze 0 aa) () (| Zao) Sea) a) (} | 
al 9 ecesed tll WIELDVEIMLY 5 VILE QiKSK fs 


Dousie Pica ITALIAN BLACK ORNAMENTED, NO. 525. 


m Caxton have done m 
sClOn@ 


rinte it In Gree. 


rouffite Tilo 


—~- 


DousLe GREAT-PRIMER ITALIAN BLACK ORNAMENTED, NO. 255. 


GS, 


‘wi @4ae P f SOLE PG, a 
: Be hes én a ‘WLOX TTI y 
| Tee o 


See tl P 14 ter es 
VIJU. Trent. 


GEORGE BRUCE’S SON & CO., TypE-FounpEeRS, No, 13 CHAMBERS-STREET, NEW-YORK. 
195 


AG 41a ‘ he nevoth ~ 


f vom at pater $ tagnert sed Y v10l4 
TO na f snl a) ite inert nb Aogell 6 bind: ait a 
Bi. | ioe afntk ne son ‘ia 1oiTD ion zi inal 
. a i! o®. absinopad view’, dshieien® audi alanel at 
BS cotap mall... ga no@ ni dfeqng hss 


u. 


; ¥ may apy ‘ tee’ er ye - 7% a . oF LS; 
he ; is ig “3 Sh A av dwice 2 # » wes URIs 


"ehe / oe Say: 3 fo Apes nee ae 2 8 . «oi a Pe r ere . e 
Sst 7 any PIN TT Ba es “TS Of gtnarg ot ot FRE: tai . 
, e * % x . ‘ “ ‘s os 

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A bea Whos 
Gag hy r: 


a et a 
A out tie oy AVE Bee in » Mey aT vohue onvield ta lanes il ont naneuy meee 
fy auitsnl | OL yi ovnioaselp “dt ah Syatoesed!) acemoll de ayrebelh to 
i 


aa Ste 209 2 VIS pee GE Hee 
Ly. Gaue meee. eli pire ae pelaritiinn€ alee wine at 
Fe diene SU ey WLS es a, Sadie (ad) Ley. 3 


+ We | 
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Detect ‘wai iit nod eases iiegiit. i 
aS saiinsy xD ATO hosentt int 10 P 
potas Jnasttit eee: am St 

| pa + i | 


STYLES 526 TO 529. 


DousLe Pica Exrra ConpENSED BLACK, No. 526. 20g uate 


[be {pense | Pook: i the Nioli ) Presi af A i natier the qe t Api 23d, 1477, sys that one fb i, 8 a 
8 soll Ww af i tices of oman (baracters ta lire ued, foe 10 Placing of (ll 


. ya J DouBLE GREAT-PRIMER ExTRA CONDENSED BLACK, Nor 526. Man dat | 
[i Fi (jldzwith, Jenvenut, af florenr (ut Panchos for 3 Paes of apes i na 
Canon ExrrA CONDENSED BuAcK, No. 526. "Ibe do | 


2 Paces a jen L oi (othe, the | Pino Press pail 10 [ive 


LONG-PRIMER Buack Ouriine, No. 527. ohne 
A Hloventine Wook-ublisher made this Agreement With Mominir, Wivector of the Mipolt Press, Mecember Strteen, PICCCCUAA UN ¢ 
Domine should IArint Choo a nored Copies of a Wook of forip-six or forty-eight pages, “ordinary Quarto or Mopal Octabo,” for the Sum of Cen 
Livres, exclugibe of Waper. IM he Printed move than Cwo Wundred Copies, the Contract should be Wotd. Womtnte completed the | 
Book February Cwentp-two, PICCCCLAXXX. Wook tag in Press about eight months. 


GREAT-PRIMER BLACK SHADED, No, 528. "Ea Aolen 
GHz Hlovswmting Golly pee Bie, Bolly ty the Riooli Press, Ong 
Aupiveey see a ils, Uese Big Dritials, Dye re Uovose Digneties, 
Sanity 0 3 tor an eubively Mew dnee of Week, | 


7 | 
. 


DousLe Pica Buack Ray SHADED, No. 529. SETS 1h 
bought for Manutiz ae 
red Oil, Turper enfine, Rosin, 


dln L iutgal Is, Wit friml, or Sige 


DouBLE GREAT-PRIMER BLACK RAY SHADED, No. 529. ee nag oe 


ar ine oh h & H ana oe R | 


KK ASS 
GEORGE BRUCE’S SON & CO., Typn-FounpE RS, No. 13 CHAMBERS-STREET, NEW- YORK. 
196 


ZZ Le 
ue 


STYLES 530 AND 531. 


Douste Pica Monocram, No. 530. oes 


Sex i in the your said: | sell fplesent fooks, Jfieety Printed, al Pralteg Prtees, 


DouBLE. GREAT-PRIMER MoNoGR an No. 530. SHAE 


‘ nin s, in the year of 1468, had frat en TD Price 80 per vent 


‘Canon Monogram, No. 530. Toes 


‘he fhe Boo whieh cost 100) {frowns | Te {450, could 
De had for 20 {Powys m the Vevr {2H}, 


Customers desiring both of these Styles, need only order One Font of the Capitals. 


Douste Pica Monogram, No. 531. msmenicns 


NOT TO fowrranicr AND foxrurs, Sup ee [fesse AND Fonsinn. fous fooxs ARE TO BE 


TED, {\runas TO BE fwauLowno, fous flew TO BE [}osseeo. pon acon, BORN 1561. 


DouBLE GREAT-PRIMER Monocram, No. 531. sea 


DING [loxere A fou fos foNFERENGE, A feaoy Iles AND 
| \ferese, AN foxscr flew | [or facon, DIED 1626. 


Canon Monogram, No. 531. 12 a and 5 A 


\ERTHOLD fieusouor DURING THE Year IO0G, SAID 


AM NOT &,REEDY 2 | seu Rooxs {reKaP. 


a _ GEORGE BRUCE'S SON & CO., ‘TypE-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
' LORE ao 


a = 


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Beiiso!t dayGnnjh 


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STYLE 532. 


| 


DousBLe PicA BLACK ORNAMENTED, No. 532. oP apes a 


Q 


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9. 68, oe 
ROG Cy 
M9 q | Gi 
OLN gNeN 


BOOS © 
M000 g 
DG NOON GO 


“Bo eros 
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Noy. 11, 1873 
‘Sy 
DouBLeE GREAT-PRIMER BLACK ORNAMENTED, No. 532, ere 


2 a, eC d 
POOP UONONIO 


AQ 00) @ye 
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MONO 705) Mas 
SOE JMR PROD Y | 


Canon BLAcK ORNAMENTED, No. 532. Te ie 12 on 


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GEORGE BRUCE’S SON & CO., TYPE-FOUNDERS, No. 13 CuamMBErRs-STREET, NEW-YORK,. 
198 


| 


STYLES 533 AND 534. 


Dovusie Pica Buack Rivmep, No. 533. 


Che German Language, says the 2 Aechbishop, 


= 


Cannot worthily vender Absteuse Speculations that 


have been Written in Geeck ov in Latin, 
DovuBLE GREAT-PRIMER BLACK Rimmep, No. 533. 


Aeligion is Lis Dishonored b bn Seavutatic ons 


an w the . . : ae a Women 


Pica LirHocrapHic BuacK, No. 534. 


Kooks, says Hiejarth te Bary, ave Teachers, whose | Pectruptienel ave 


Utsecompanien wif Riows ov Harsh} Werts: whe Memanh neither Poot wor Wayes; 


Youn visit Hem, auth Hey ave Alert; 


GREAT-PRIMER LITHOGRAPHIC Brack, No. 534. 


Hy on Want hem, Mea s Kieceete pot emarlies ; Shaul Ot ape 


Wiatake hee Meaning, Hey Complam not, nor 
Ridicule spate Equa uatanee, fe if ever so Gross, 
dieharh be Lows, AGhot of Bt, AlGans. 


i DousLE GREAT-PRIMER LirHoGRAPHIC BuacKk, No. 534. 
t 


The Cratte of Laneynting Hooliys 


Hegan ina City of Almane, 


GEORGE BRUCE’S SON & CO., TyrE Founpers, No, 13 CHamprrs-StREET, NEW-YORK. 
199 


STYLES 535 AND 536. 


DouBLE SMALL-PICA BLACK Row SHADED, No. 530. te 


6 the at the esis chommomachia, 1456, 
Iternate Lines of Black and Red. 


ZZ) 


DousLe EnGiisH Buack Rim SHADED, No. 530. Oe at es 


tf] ws. it eens 


a 


duced Gireck 


DouBLE GREAT-PRIMER BLACK Rot SHADED, No. 535. 


LER says that J ui 
rinted nearly 100 Bes 


Canon Buack Rim SHApED, No. 535. Ter 


== 


| Spice wie 
ivat used: 


IWOPRAW 


200 


STYLES 537 AND 538. 


GREAT-PRIMER BLACK ORNAMENTED, No. 537. SU SELNT the 


Es: a 
7a =€ y 
' SH a, b an al NO 


Jareboas Of 


ch) NK ¢ 
Tri GAGs Neh f& OH <0 


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¢ PicA BLACK ORNAMENTED, No. 538. *% 4,074 104 GREAT-PRIMER BLACK ORNAMENTED, No. 5388. 72,054 


Y  TMUENTY PENCE Wr 1700, the prices of books 
Meee yeteé tr (208, for an English in NULIT half-shevt fy UEMY, 


Veimer and Poulter, a sum cyual to 
etre week's weyers of # laborer. Ranged front 10 to 1%s. 


Dousie PicA BLACK ORNAMENTED, No. 538. ee 


ULV RUNS verge in price from 3s. to Os. cack 
or Vopies Foughly Bound in Bourds. 


rc 


i 
{ DouBLE GREAT-PRIMER BLACK ORNAMENTED, No. 538. 


SOUEHS BIBLE, Eerimantonn, 
Peunsyleania, 1743. 


Typr-Founpers, No. 13 CHamMBers-STREET, NEW-YORK. 


201 


GEORGE BRUCE’S SON & CO., 


ia Xt). bay, ese bo Jj 
; res MiPici: coe ethab ine re Fst wife 
: Soe he . Vers Se aie She an 


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STYLE 539. 


GREAT-PRIMER BLACK ORNAMENTED, No, 539. SMa 


i command, ail aa Hovvtecnth in 1649, that a eefarth 


Mee all eit itt Lat itt, “ understanding ep 


DousiEn PicA BLACK ORNAMENTED, No. 539. parr | 
MAK ape: sae ES aan 4th 49, t hd enden d 
Aparentice must obtain fl 
(SS 


( 


Oniver sila, 


Hlaster’ g 


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OO livres and the forfeiture of his ¥ Wi irense. 


DOUBLE GREAT-PRIMER BLACK ORNAMENTED, No. 539. a 


that be ma (] 


aX 


Four-Linp PrcA BLACK ORNAMENTED, No. 539. 17 Ih 4 on 


‘ 
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EV’ As" we, Vor \ \ 
5 AAS fa fl fe Ie he AA 
NS IN N me BY 
SU UM, 
YS KAKA OK KONG % 


GEORGE BRUCE’S SON & CO., TYPE-FounpErs, No. 13 CHampBers-STREET, NEW-YORK. 
202 


BrevieR Victoria, No. 540. Seip 
EXODUS, CHAPTER XNVTTT, I. 11. 
With the work of an Engraver in stone, like the Engravings of a 
Fi Signet, shalt thou engrave the two Stones with the names 


of the Children of Israel: thou shalt make them 
to be set in Ouches of Gold, 


EECLESIASTES, CHAPTER XIT, i. 12. 
And further, by these, my Son, be admonished: of making many 
Books there is no end; aml much Study is a 
weariness of the Flesh, 


Pica Victoria, No. 540. See 


BARA, CHARTER Bi, VERSES 1 ANH 2. 
Then Harius the hing made a decree, 
and search was made in the house of 

the rolls, where the treasures were laid 

ap in Babylon, And there was found at 
Achmetha, in the palace that is in the 
province of the tWtedes, a roll, and 
therein was a record thus written : 


LONG-PRIMER VicTrorta, No. 540. eeepige 
JOR, CHARGER XIX, VERSBS 23 AV 24. 
@h that my Cords were now written! Oh that they weye 
Printed in a Book! Ghat they weye Graven with an inon 
sen and lead in the Roch foy ever! 


JOB, CHAPGER XXX, VERSE 35. 
@®h that one would Heay me! behold, my desine is, that the 
Almighty would answey me, and that mine 
Adveysary had wryritten a Book. 


GREAT-PRIMER Vicrorta, No. 540. ae 
JEREMIAH, CHAR, XVII, VW. 1, 
The sin of Judah is written with 
a Pen of iron, and with the point 
of a Diamond: i is graven upon the 
Vable of the Heart, and upon 
the Horns of your Altars ; 


DousLe SMALL-PIcA VicrortA, No. 540. ea 


9 Ib 


ISAIAH, CHAPTER XIX, WHRSH 7. 
The Paper-Reeds by the Brooks, by the Mouth of the Brooks, 
and every Thing sown by the Brooks, shall wither, 
be driven away, and be no mare, 


 SOOI EPIST Oar DOR, Wide 12, 

Having many Things to write unto you, T world not 
write with Paper and Ink: 
unto you, and speak Hace to face, 


but 1 trust to come 


GEORGE BRUCE’S SON & CO., TypE-FouNpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


) ne? 2 oa a 


Aer: 


M ; Ob 4 Aint Sarit : 
he | eee te tee ere ACh : 


; uth sil Alia DAR ipluagee set jt onttt jon wik wt we reget! ne ty iva 
4 ij ipo } ‘ nb ne Bs date uv ay peli Aeghivn dndt Hi 
dee 

j ’ taal. adiitt tidlbe sve sit; laweat Vk noch 


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<I Pas ‘ tia i olel® dint buw | few Ge Baral 

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“ino of det) & th tlk tite sees 


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STYLE 580. 


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GREAT-PRIMER GERMAN TExt, No. 580. 734,75 3° DouBLE SMALL-PICA GERMAN Text, No. 580. 733mt8 


=e ; OSo A ars BCd_ Ct 5 ~ cS $ 
Plowvishes Capitals of German Gert EOhe Weuromberg Gronicle, by 
pate ONS rirop ld bai : | 
were used for the first time int the Oy henrharel, OP arta GS chedet, Crgranings 6 
Oe, LB yee QP? ceombera de 1517 ) ‘| 
fy Sohn CSyehoonsperger, of Qoaremborg in 1517, ays 
fom) GS, 7 | roflgenmth and LXMeydenmwa 
The CT henrdanch, 0 Poot written to commemorate ae Ht J os ) ff | 
the marriage of the emperor QWVarinitian 1, Soruiteo by Gkooburger, 1493. 


DouBLE PARAGON GERMAN Text, No. 580. ersoineas 


dition of PNG (. QDnther’s D3 ible wrt! 
estamont, Daft 


S) ~/ 
@ 7 4 Ae NY%s 
Bist CY 


f of © V\ = 

( eet J . 
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© recksel Dreothers, 


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SEVEN-LINE PicA GERMAN Text, No. 580. 


GEORGE BRUCE’S SON & CO., TypE-FouNDERS, No. 13 CuamBrrs-STREET, NEW-YORK. 
204 


a. 


tie 


ed 


STYLE 90. 


AGATE GERMAN, No. 90. (3-NIOK.) 


‘Den Griedhen und Rosmern war die Budhdrudertunft nidt befannt, bod) verftanbden fie bie Kunft, 
purdh die offenen Stellen ansgefdnittener Bleche dburchsumalen, twie dies auf Waarenballer und 
hergleiden mod jest gejdieht. Die Erfindung, Figuren, Bilder unb Schrift mittelft geftochener 
| Metallplatten oder in Holz gefdhuittener Formen gu vervielfiltigen, fallt erft in das 14, Sahrhundert 
| und gab ohne Siveifel die evjte Anregung su der Enthedung, Schriftformen aus betvegliden Typen 
jufanmensifeser, fo af diefe nad) dem Whdruc aus einanbder genommen und zur Zujammenjesung 
neuer Schriftformen benubt werden formten. Die Entivicelung der Buchbrucertunft fHeint anf die 
| folgenbe Weife bor fich geqangen gu fein: 1) Die Antwendung erhaben gejdnittener Formen jum 
Druden bon Seide und Tuch, tie dies in Spanien, Sicilien und Stalien im 12. und 13. Sahrhundert 
efcharly ; 2) Die Anfertiqung oon Spielfarten vermittelft Schablonen, zu Ende des 13. Sahrhunderts, 
m Deutfhland und Stalien; 3) Das Orucen von Bilder, hauptfachlich Geiligenbilbern, 32 Wnfang 
be@ 14. Sahrhunberts, in Deutfehland und ben Miebderlanden ; 4) Das Drucen bon Biidhern permittelft 
in Hol; gefehnittener Formen, im 15. Sahrhunbert; 5) Die Wntwendung betweglider Type zur 
GHevfietlung von Biidhern mu, jf. w. Diefe erften rohen Unfange des Typendrucs twaren in China {chon 
etioa 1000 Sabre vor Chriftus befannt, blieben aber dort unenttwidelt, tweil die Chinefen mur fiir 
| Worter, nicht aber fiir jeden einjzelnen Spracdhlaut (Suchftaben) Schriftzeichen farnten. Der Erfte, 
foclther ben Werth heweglicher Letter su ermefjen twufte, war Johannes Gutenberg. Dure) fein, flix 
faimalige Beit ungeheures Unternehmen, die Lateinifde Gibel bollftinbdig durch Xypendruc gi 
bevbielfaltigen, und dure) die bom ihm ansgegangene Ansbhildung her rohen Unfange der topographifdhen 
| Techarit brad) er der Erfindung Bahn und gilt fonacd mit Recht als ber eigentliche Erfinder bes 
Typendrnds. Wann Gutenberg die erften Verjuche, mit betveglichen Lettern zu dructen, gemacht hat, 
Yapt fich nicht feftftelien, boc) ift e8 ficjer, dap er fchon im Sabre 1438 im Geheimen brute und feit 


 - 1424 in Strasburg als mechanifder Kiinftler lebte. Deshalh macht Strasburg nicht ohne Grund 


| Unjpeuch auf bie Erfindung ber betweglichen Lettern. Spater ift er bom Holzernem yu bleiernen mit 
| cinem Loch gum Wufreiher verfehenen Letterm tibergegangen. Sebo) erft im 1452, nadjdent 
| Gutenberg, feit 1440 in Mainz, hier 1450 an Bohannes Fuft eine pecunidve ‘umb am beffer 


| Sihiviegerfohn Peter Schiffer eine geiftige Stiike gefunden hatte, tam bie Buchbrucerfunft einen 


febeutenden Sehritt vorivdrts durch) die Erfindung der Buchftabenmatrijen und des Letternguffes. 


i ABCDEFGHIKLMNOPORSIUVWEYZ 


$ 1234567890 £& 


Minton GERMAN, No. 90. (3-NICK. ) 


Nach England fant die Buchdruderfunft 1474 durch den Kaufmann William Carton, der 
fie it den Miederfanden und in KiIn erlernt hatte; er iibte fie befonders im London in 
der Weftminfterabtei aus. Nur LYangjam machte fie jedoc Fort{dvitte, und erft zu der 
|Monigin Slijabeth Zeiten verbreitete fie fic) allgemein. Nac Spanien und Portugal 
berbreitete fic) die Buchdrucerfunft nur wenig fpater, machte aber dort wegen der 
Rriege und Bedriidungen wenig Fortfdritte. Nac Danemarf, und gwar nach 
‘Ropenbagen, wurde fie durd) Gottfried ban Ghemen 1493 verpflangt, allein auch bier 
: machte fie bis in’S 16. Sahrhundert wenig Gite, indem eigentlich) da erft die UWushildung 
‘Der danifhen Sprache und Literatur begann. Sn Schweden fommt fcon 1483 ein 3u 
Stodholm gedrudtes Bud vor. Sr Polen wurde die Buchdrucerfunft urd Boh. 
| Baller guerft nad) Krafau gebradht, in Rufland aber durd) Swan Feder in Ntosfau 
Ungefthrt, Hlieb jedoch dort lange mehr Staats- als mercantilijhe Sache, bis fie erft gu 
(Gude de8 17. Sabrhunderts unter Peter dem Grofen fic) hob. Much auger Europa 
Serpflangte fidh die Budhorucerfunft faft durch die ganze Welt. Der Biceksnig Wntonio 
be Mendoza brachte fie 1535 nad) Mexico; die Armenier, welche meift in Conftantinopel 
ind Venedig drucéen Viefen, 1567 nad) dem Orient; 1586 die Sefuiten nad Lima und 
‘Peru, im 17. Sabrhundert die Maroniten nad dem Libanon, 1638 die Briten nach 
Norbamerifa. Frantlin war ein Buchdruder, und in Nordamerifa fand die Buch- 
drudertunft ihren groften Wirkungstreis. Sm 18. Sahrhundert verbreitete fie fic) iiber 
\Sehlon und Batavia nad Oftindien und fam 3u Ende deffelben nad) Sidnety in 
Neubolfand, ja auf alle wichtige Puntte, befonders britifher Colonien, der gangen Welt. 
Die evfte Buchdrucerei in den britijhen Colonien bon UAmerifa war in Cambridge, Maff. 


ABCDEFGHIKLMNOPARSTUVBWXY 3 
$ 1234567890 £ 


BourGEois GERMAN, No. 90. 


‘Machdem die Buchdrucerfunft fic) von Deutfhland aus iiber die 
Madbarlander verbreitet hatte, gedieh fie zundchft in Stalten yu 
jroferer Bollfommenheit. Man begann Hier aufer pen fiir 
ivchliche und Schulyweee gedructen Bitchern zundchft dte Werke 
laffifther Autoren 3u vervielfaltigen. Nachdem die Wldinen in 
Benedig, und die Suntinen in Floren, in Bezug auf die Manntg- 
jaltigteit ber Schriften und die Sshinhett des Oructes Lange Bett 
ren Vorrang behauptet batten, traten dte Elzevirs in Leyden an 
$re Stelle, indem fie auf die dupere Ausftattung der Druciwerke 
‘me Nod grofere Sorgfalt serwandten, auch bequeme, handliche 
Formate Herftellten, unter denen die Mintaturausgaben in 16. 
ine grofe Beriihmtbeit erlangt haben. Whhrend in Deutfch- 
and die Technif mehr und mebr in Berfall gericth, Htelten dte 
olinder nod Lange auf eine witrdige Wusftattung der Prefi- 
Tyeugniffe. Wilmalig begannen die Preffen auch dem groperen 
Dublifum dienftbar zu werden, und an die Stelle wiffentchaftltd 
‘\ebtldeter Buchdrucer traten fpaterhin weniger beqabte Spefulanten. 


ABCDEFGHFKLEMNOPORSTUVBWEY 3 
$ 1234567890 £ 


(3-NICK.) 


NoNPAREIL GERMAN, No. 90. (2-NICK.) 


Das Sabhr 1440 ift feineswegs dag ridjtige Erfindungsjahr der Buchdructertunft, obgletd man 
herfimmlid) dtefes Sabr als das Erfindungsiabr annimmt und aud) 1840 allgemein wieder 
das Subilaum der Erfindung gefeiert hat, wte e8 1540, 1640 und 1740 {don begangen wurde. 
Sur Sabre 1455 trennte fic Gutenberg von feinen beiden Gefellfhaftern, und diefe febten nun 
das urfpriinglide Gefdaft fort, vollendeten die 42eilige Bibel in 2 Foltobanden (wahrideinttd 
1456) und begannen darauf Biidher mit Heineren Cettern yu drucen; sugleid) legte Gutenberg 
eine neue Druceret an. Das erjte befannte Bud) mit Angabe bes Drucjahrs war das 
Pfalterium yon 1457, gedrudt yon Fuft und Sdsffer, das gweite das Nationale bes Durandus 
1459 von denfelben und das dritte das Ratholicon bes Sanna 1460, wahrfdeinlid) von 
Gutenberg, obaleidy fein Name am Ende nicht genannt tft, aber in einer Sdlupidhrift die 
Erfindung des Buchdruces und die Stadt Maing als ihre Wiege gepriefen wird. Die betden 
festen find mit fleineren (qnthifchen) Typen qedrucdt. Die Budpructeret verbreitete fi) raf, 
thetls von den Gebitlfen der Mainger Buchdructer verbreitet, die befonders nad) der Eroberung 
der Stadt durd) Woolf von Naffau 1462, weil die triegerifden Suftande der jungen Kunft nidyt 
jutraglid) waren, fortyogen und fic nach allen Richtungen zerftreuten, thetls aud) wohl 
entftanden ganz felbftftandig in vtelen deutfden Reidsitadten in den nadften Jahren Budy- 
orudereien, fo in Kiln und Strasburg, dann in Bamberg, wo das erfte deutfdhe Bud), der 
Ehelftein, gedruct murde. Binnen wentgen Sabhren hatten jdhon Venedig, Rom, Paris wt. f. w. 
ibre etgenen Officinen, die zum qriften Cheile von deutfhen Buchdrudern geqrindet wurden. 
Arnold Pannary wunb Konrad Sdweynheim erfanden 1467 in Nom die gefalligere Wntiqua, 
dte zum Theil der rémifden alten Schrift nadgebtldet und, aufer in Deutfdhland, Danemart 
und Sdweden, bald in ganz Europa die Mondhsfdrift verdrangte. Schon 1480 beftanden 
jlidifhe Drudereten in Oberitalter und Portugal. Wldus Manutius erbadte um 1501 dte 
Curfiy, und Anton Sarottus goG su Ende des 15. Habhrhunderts die erjten qriedifden Typen. 
Paravafinus in Milan drucdte das erfte Buc) in griedifder Schrift tm Sabre 1476. 


ABCHEFGHFKLEMNOPORSTUYWIYZ 
$ 1234567890 £ 


BREVIER GERMAN, No. 90. (2-NICK.) 


Sn der erften Bett des Budhdructes waren die Drucder zugletch Schriftateper, 
Budhandler und nicht felten auch Gelehrte. Erft allmadlig brlbeten fic) dte 
Buchdruckeret und die Schriftateperet als felbftftandtgqe Gewwerbe ans, dDagegen 
findet fic) Berleger und Drucker noch jest hauftg tn etner Perfo veretntat. 
Das Buchdruckergewerbe trat yon yorn herein als eine Kunft auf und wurde als 
folche von den gebildeten und hdheren Standen betrieben, auch wettetferten dte 
Buchdrucker der fritheften eit, thren Beugntffen etn 3terltchyes und fdyones 
Ausfehen aut geben und dadurd) den Anfprudy auf den Minftlertitel zu redht- 
fertigen. Wie alle mechantfchen Minfte der Damaligen Bett, umgab fic) auch 
Die Buchdrucerfunft mit einem gemiffen gehetmntfiyollen Mimbus und nam 
eigenthimlice Formeln und Gebrauche an, yon denen ft manche bts auf den 
feutigen Tag erhalten haben. Die Gefchichte der Buchdructerfunft fallt in 
viele Stiden mit der des Budyhandels zufammen. Wie die Buchdrucerfunt 
gleich WAnfangs als mechtiger Hebel wiffenfchaftltchen und getftigen Lebens 
iberhaupt erfcheint, fo verdant fte auf der andern Sette thre techntfche Wus- 
bilbung den Seiten und den Volfern, dte getfttg am producttyften maren, alfo 
aud am meiften Werth auf die Kunft legen muften, welche das Mittel bot, den 
Gedanfen ded Einzelnen wetter und entfernten Mretfen mitzuthetlen. Man 
unterfdhetbet in Der Gefdhichte der Buchdruckerfunft dret hauptfachltch/te Pertoden. 


ABCOEF GHFKLEMNOPORS TUBBY 3 
$ 1234567890 £ 


LONG-PRIMER GERMAN, No. 90. (2-NICK.) 


Das nach dem Frieden yon 1815 fic) von Habr zu Dabr fteigernde 
HVediirfnip nach Lecttire und die Cntwicelung des Zettungswefens 
Drangte yu der Nothwendigkeit, das ecigentlthhe Oruden auf 
fdnellere Weife als bisher 3u bewerkftelligen; die grofen WUAuflagen, 
namentlic) der ,, Times,” erforderten einen mebrfadhen Sab des 
Tertes, damit mehrere Preffen zu gleicher Zeit mit dem WAhorud 
befdhaftigt werden fonnten. Diefem Uebelftande half Friedrich 
Konig durd) Erfindung der SGehnellpreffe (1810) ab.  Dtefe 
Erfindung, von Konig in London gemacht, fam jpater yu weiterer 
Aushiloung und Vervollfommnung, indem man zum Betriebe der 
Drudmafehinen die ODamypfiraft in Anwendung brachte. Bucher 
und Seitungen wurden jest fajt ausfcblieplic durch) Mafdhinen- 
orud hergeftellt. Dagegen wendete man yu fletneren Orucfacen, 
namentlic) wenn fie eine grofere Genauigheit und Sorgfalt erfor- 
Derten, nod) Die Handpreffe oder die WAccidenzfchnellpreffe an. 


ABCDEFGHFKLMNOPORSTUBWKY3 
$ 1234567890 £ 


205 


GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHaMBERS-STREET, NEW-YORK. 


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SMALL-PICA GERMAN, No. 90. (3-NICK.) 

Gleich nach der Erfindung ver Buchdruckerfunft zetdyneten fich 
die Deutfehen als Schriftateper aus; Pannarg und Sdyweynz 
heim im Rom erfanden um 1470 die Antiqua, der Staltener 
MWlous Manutius in Benedig die Curfiv; fpater ging das 
Schriftgieben befonders nach Holland ither, und die hollandt- 
{hen Wntiquafchriften waren im 17. und 18. Sabrhundert 
beriihmt. Die gropten Verbefferungen in Sdhriften madhte 
der Hollander Van Hjicf um dite Mitte des 17. Sabrhunderts. 
Erft wm 1670 erwachte der Schdnheitsfinn und man ftrebte 
nad) Clegans, bejonders seidneten fic dte _Stangofen hierin 
aus und Fr. Ambroije und Fournier der Stingere in Paris 
brachten 3uerft te YAntiquafdyriften auf fefte Regeln und ltefen 
fte nach Dem Beifpiele des Briten Sof. Moron um 1690 dem Yruge 
gefallig aug geraden Vinten, Kretfen und Kreishogen beftehen. 

AUBCDEFGHIKLEMNDOPORSTUBIWHEY 


$ 1234567890 £ 


90. 


Die Reibungen und Bewegungen, welche nach 
1420 in Maing ftattfanden, nvthigten die Familie 
Gutenberg’s zur Auswanderung nad) Strasburg, 
wo auc) Gutenberg blieb, nachdem den ausyge- 
wanderten und zum gropen Theil auch exilirten 
Mainzer VBiirgern die MiicEehr geftattet worden 
war, %us einer Urfunde von 1434 geht hervor, 
dab Gutenberg mit ziemlicen Geldmitteln verfehen 
war, Sm Sabre 1436 wurde er unter die 
Conftables der Stadt aufgenommen und 1437 
vermablte er fic) mit Anna zum Aferen Thure. 


ABCDEFGH FRLMNOPORSTUBMWKY 8 
$ 1234567890 £ 


ENGLISH GERMAN, No. 


(REAT-PRIMER GERMAN, No. 90. 


Gutenberg hat die erften yon ihm gedructten 
Sachen weder mit fetnem Mamen noch mit 
einer Seitangabe verfehen.  AnbdeG ift es 
febr wabhricheinlich, dap er fehon gegen 
1438 bewegliche Typen anwandte. Nach 
Andreas Drityehen’s Tod 1438 lbfte fich 
jene Verbindung, gumal defjen Bruder 
Seorg einen Prozep mit Gutenberg anfing. 


ABCDEFGHIKLMNOPORSTU 
$% 1234567890 £ 


Pica GERMAN, No. 90. 


Sohannes Gutenberg, der Erfinder der BuchdructerFun)) 
ftammte aus einer Patricterfamilte, welche den Nam 
Gensfleijch firbrte. Sein Vater, Sohannes Sensfletfe 
heirathete Clfe von Gutenberg; der Gobn tft jedo. 
unter dem, yom Grundftiicte feiner Mutter entlelnt 
Beinamen befannter geworden, als unter feine 
samniliennamen Gensfletfh. Der Beiname ge 
Sorgentoc, welchen einige VBertdyte uber dte Erfindur 
der Buchdructerfunft dem Gutenberg noch trrthimli: 
beilegen, gehirt einen andern 3weige der Famil 
Gensfletfey an. Ueber die fritheren Lebensverhal 
niffe und Beftrebungen Gutenberg’s tft nichts befann 

AVBCDEFGHIKLMNOPORSTUVBWRYZ | 


$ 1234567890 £ 


COLUMBIAN GERMAN, No. 90. 


Schon 1436 hatte Gutenberg mit Wnodrea 
Dritzehen und swei anderen Strashburgern, Han 
Nitte und Mndreas Heilmann, einen Contra, 
gejcjloffen, in welchent er fich verpflichtete, all 
feine gebeimen und wunbderbaren Riinjte m 
ihnen gemeinfchaftlicy und zu gemeinfchaftlicher 
Nuben zu betreiben. Dtejes Unternehmen fejlo 
jebenfatls auch die Unfiinge der Buehdrucferfn 
mit in fich; Maheres ither die erften Verfuct 
in Derfelben Laft fich jedoch nicht angeben 


ABC DEFGHIKLMNOPORS UBM 
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| 


PARAGON GERMAN, No. 90. 


Ueber Gutenbera’s Chatiqkeit in bei 
nach tfolgenden Sabren herr cht tiefe: 
Dunfel. Sedenfalls febrte Gutenber, 
nach Mains zurite; bier vereinigt 
er fich gegen Ende Muguit 1450° mi 
Sohann Fut zur Uebung der Bur 
dructerfunft im Haufe,, Sum Sungen 


ABCDEFGHIKEMNOPOM, 
$ 1234567890 £ 


GEORGE BRUCE’S SON & CO., 


TypPE-FouNnDERS, No. 13 CHamBers-STREET, NEW-YORK 


206 


Gutenberg wurde unv’s Sabr 1399 in der Stadt Meaing qeboren. 


Die chinefifche Schrift enthilt S4,000 Lettern. 


uit ftard im Dahre 1466. 


Scho fee {tact 1502. 
Bult u. Schiffer 
Gutenberg 


GEORGE BRUCE’S SON & CO., TypE-FounDERS, No. 13 


2 a? 2°35 


Se) PARE Tee me Atv dla Fe? ne 


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STYLE 91. 


NONPAREIL GERMAN, No. 91. (3-NICK.) 

Gutenberg, ber Exfinder der Buchdructertunft, ftarb unverherrathet und finderlos, — jetne 
Gxrfindung wurde in feiner Geburtsftadt durch eine feindfelige Firma ausgebeutet, — fein 
Name ftand auf feinem jeiner Drudwerfe, — die gefdichtlidjen Urtunden waren fammetlic) 
blos gefdhrieben, an verjdjiedenen Orten zerftreut und verborgen, — ba mufte Gutenberg’s 
Recht auf die Ehre ber Erfindung felfenfeft beqriindet fein, wenn jeine Anerfennung tro¥ alle- 
dem dennoch jehon im 15. Sahrhundert durdbdrang. 3 ijt gejdehen. Die altefte gebdructe 
Nachricht iiber die Erfindung ber Buchdrudertunft, die iiberhaupt einen Erfinder nennt, er- 
wahnt Gutenberg. Joh. Philipp de Lignamine, Meffanenfis, veroffentlidjte den Bericht zu 
Rom 1474 und 1476, in feiner Chronif der Papfte und Katjer von 1316 bis 1469, unter dem 
Jahre 1458. Mathias Palmer jrretbt 1474, bak der Ritter Johann Gutenberg zum 
Sungen, von Maing, die Buchdructerfunft, welche fich jdjon 1457 verbrettete, erfand. Der 
folner Buchdrucer Ulrich Bell beftatigte 1499 die Erfindung (durd) Sunker Johann Guten- 
berg gu Maing) tm Jahre 1450, An demjelben Habre nannte Polydor Pergilius gu Venedig, 
auf Grund miindlicer Mittheilung, einen Deutfehen, einen gewiffen Peter (d. h. Schoffer), 
berichtete aber bald darauf den Grrthum in der Ausgabe von 1457. Da diefe Machric- 
ten auf die miindliche Ucherlieferung ber Typographen aus der Srhule und de} un- 
ebdlen Gefdhidtsfalfaers Peter Schoffer guriicksufiihren find, haben fie einen doppelten Werth, 

ABCDCFGHFIKLMNOPORS TUBWRY 3 


$ 1234567890 £ 


Minion GERMAN, No. 91. (2-NICK.) 

Ohne den Namen des Grfinders twwurde im 15. Jahrhundert, ohne eine eingige Wus- 
nahme, Mains don der gangen Welt als bie Wiege der Typographie anerfannt. Das 
Jahrhundert der Grfindung hat nicht unficher im Finftern umbergetappt, nicht 
jchitchtern gefragt und fliifternd geantwortet, fondern die Stadt Maing alS den 
Geburtsort des Erfinders und der Erfindung der Typoqraphie auspojaunt. Gn dem 
durch Gefchichtsfalfehungen Herborragenden 16. und 17, Jahrhundert aber gerieth 
Gutenberg, wie durch glaubwiwitrdige Gefhichtsjdreiber hinlinglicsh nachgetiefen it, 
allmalig in Bergeffenheit. Die Gejchichte wurde den bhornirteften fleinjtadtifchen 
Hintergedanfen und Nebenabfichten dienftbar gemacht. Cine bodenloje Conjec- 
turalgejdhichtidretbung trat an die Stelle der Thatfahen, gewifjenhafte Tor- 
jehung tourde von unendlicen Wusflidten und fohlauen Trugjhliijjen verdrangt, 
univifjenfcdhaftlige Borurtheile galten fiir wiffentchaftlice Begriffe. Erjt tm 18. 
Jahrhundert zeigte fic) bie Morgenrdthe eines neuen Tages, bas 19. aber grabt allen 
syabelt aus dem 16. ihr Grab, Bereits Laftet die Schmach der Cicherlichfert auf dem 
jammerliden Hauflein zuritcégebliebener Geifter, die bem Whderidenblddfinn hulbdigen. 


AVBCDEFGHIKLMNOPORSTUVWY 3 
$ 1234567890 £ 


BREVIER GERMAN, No. 91. ° (3-NICK. ) 


Wus dem richtigen Gefiihl der Bedeutung der Crfindung der Thpographie 
fiir die Ntiglichfeit und den Grfolg der Reformation, wurde das erfte 
Sifularfejt bet Cebzeiten Luther's durch den Buchdrucer Hans Lufft und 
deffen Fachgenojfen in der Meformationsftadt Wittenberg an Gutenberg’s 
Namenstag (24. Suni) begangen. Waren doch iiber Hunderttanjend Grem- 
plare bon Vuther’s Bibeliiberjekungen in den verfehiedenften Formaten aus 
den Prejfen des Hans Lufft hervorgegangent und iiber dte ganze Welt ver- 
breitet worden. Yrrthitmlich legte man aber ein blos jagenhaftes Chro- 
nifenjahr, 1440, dem an fich richtigen Gedanten unter. Gin Lateinifches 
Gedicht des mainzer Correftors Arnold Begellanus (von Biirgel bei Frant- 
furt am Main) ging wohl ebenfalls aus der damals geltenden Bedeutung 
des Jahres 1540 hervor. Die Reformation verinddherte fich nur 3u bald 
gu einer Art Wtramontanismus auf Rriiden, gegen den im nichften, 
jiebengefnten Jahrhundert der fehrectliche dreifigiahrige Rrieg wiithete. 


ABVEDEFGHIKCMNOPORST UBS WHY 8 
$ 1234567890 £ 


BourGHOIS GERMAN, No. 91. (2-NICK. ) 


Trobdem betheiligte man fic) fehon allgemeiner an der Feier des Buch- 
drucerjubilinms. Damals hatte Leipsig den Bortritt. Ym Wpril 
1640 erlieRen die dortigen ,Drucker-Herren” an die Reichs-, Sees und 
Handelsftidte die Wufforderung, mit wynen am Johannistage ein Dant- 
jeft gu Halten. Qn cinem Widmungsjdhreiben an feinen Schwager 
Wencter flagt Dr. Schmidt in Strasburg, da die hochwerthe und nie- 
mals genugjam geriihmte Kunft bet dem allgemeinen Ruin de3 romt- 
jen Reiches (deutfher Nation) in etlicen Jahren fehr gefallen und 
noch fallt, jintemal viel vortreffliche Buchdructereien zerftirt, die Buch- 
ftaben in Rugela gejchmolzen, die in der Kunft Erfahrenen verjagt 
und gu anderen Gejchiften gendthigt, und fdine Papiermiihlen 
verbrannt oder doch miifig und ftillftehend gemacht worden jeien. 


AVCDEFGHIKLMNOPORSTUBWRY 3 
'$ 1234567890 £ 


(3-NIOK. ) 


LONG-PRIMER GERMAN, No. 91. 


Viel allgqemeiner war die Geier 1740; e3 wurde bereits getwalti 
qeredet und ge—geffen. Wtan verjtieq jich jogar zum Schlage 
jilberner und fupferner Denfmiinzen. Bret nannten die Typr 
qraphie eine qlitcliche Grfindung Deutfchlands; swet ander 
feierten blo dag Ddritte Jubelfejt der Stadte Itiirnberq un) 
Regensburg; wieder dret andere Hhuldigten einer gejchichtliche 
Giige; nur die neunte fiihrte eine anjtindige Jnjchrift. Unter 
defjen glangte das 3u einer finftern Ptaffenjtadt Herabgejunter| 
,goldene Mainz” durch Gleichgiiltiqteit und Uniwijjenbheit. 
ift nicht miglich, ohne Zornwallung die wahrhaft empirende un 
jchmachvolle Gejchichte der Verjchleuderung von zahlreichen a 
{ehabbaren typographijchen Wonumenten durch Ntaing 3u Lefer 
Um einen Haujen Maculatur lieBen tonjurirte Brweifiipler fi, 
Den unerjeblichen Reichthum abjchiwaken, jpater jchictten wider 
wirtige ,Cttoyens” die thnen anvertrauten Dofumente nach Paris 


ABCDEFGHIKLINNOPORSTUBVBABRY3B } 
$ 1234567890 £ | 


SMALL-PICA GERMAN, No. 91. (2-NICK.) | 


Bockenhermer fagt mit Recht: ,Mtan witrde in Main 
den Cintrag in dem Dominifanerbuche beachtet haber 
wenn man itberhaupt in Wtaing um Gutenberg un) 
jeine Runft fich befiimmert hatte; da3 Bol jo went 
als die VYtdnche, bei denen er lag, wupten bei Begin 
deS jiebenzehnten Yahrhundert3, gu welcher Beit da 
Grabmal jcjwerlich noch gu fehen war, noch irgen 
etroas von ihm, und auch tm achtzehnten Sabhrhundes 
haben die Ntainger Gelehrten, wie felbft ein Gudenué 
nur wenig jic) mit ihm bejchaftigt, bis die Neuze 
ihm endlich gerecht getworden ijt. Und zwar fam de 
Smpuls ftets von Xupen her. So im Yabhre 179) 
von einer Verjammlung der bedentendften %Uftrone 
men der Welt, und im Yahre 1804 von Napoleon. 


AVCDEFGHIKEMNOPORS TUBVBWHYB 
$ 1234567890 £ 


Pica GERMAN, No. 91. (3-NICK.) | 


Cin Gabhrzehnt jpiter war e3 weber ein Frembder 
der den Gedanten eines Gutenbergdentmals anvegt 
Projeffor Gio, Batt. WMticheletti, ein Neapolitaner 
jehrieb: Nicht allein Deutfehland, nicht aller’ 
Curopa, Jondern die ganze Welt muh zufammen 
wirfen, Gutenberg ein Dentmal der Danfbarkert 5 
errichten.” Bis auf den heutigen Tag aber exiftn 
noc) fein der Grfindung der Typographie swirble 
entipredendes Ntonument. Zur Feier des erften hal 
ben Jahrtaujends der Typographie (1450—1950)e1 
richte das neuerftandene deutjche Reich et groped, all 
Kleintrameret befehamendes Gutenberg-Ntonumen 


AVCDEFGHIKCMNOPBORSTUVWXY 3B 
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~ 


GEORGE BRUCE’S SON & CO., TyPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


208 


NONPAREIL GERMAN Tirie, No. 490. 
Yin Sehluffe des fiinfjehnten Sabrhunderts befanden fic) yweiundwanyig 
Buchdructereien in RoIn. Unter ibnen befand fich diejenige Des Arnold Ter 


Hoorne, der tro feiner gelegentlichen fchlechten Druckarbeit erwabnt ,u wer- 
ten verdient als der erfte in Deutfehland, welcdher arabifche Biffern anwandte. 


ABCDEFGHFRLEMNOPORSTUVBW $1234567890 


BREVIER GERMAN TiTLE, No. 490. 
58 ift ee retnlich, Daf der Drucer der vier merf- 
purdiqen Wusqaben des ,Speculum” fich in Utrecht 
iefand, ehe Retelaer im Fahre 1473 fic dort uiederlies. 


AVCOCFGHFKLMRHOP $1234567890 


LONG-PRIMER GERMAN TITLE, No. 490. 


ju Strasburg fanden die VBuchdrucker mebr 
Srmutbiquing als in Mainz, indem dort febon 
or 1500 fechszebu Buchdruckereien pelionber, 


UABGCOCFGHARLM $12384567890 


PicA GERMAN Tire, No. 490. 


Thierry Martens druckte 150 Biicher 
t Griechijch, Hebraifch und in Latein. 
AVBGBCOCFGH $1231567890 


Minton GERMAN TitTLH, No. 490. 
Die Buchdruckerfunft wurde im Fabre 1468 in Wugsburg eingefithrt durch 
Giinther Sainer aus Neutlingen, der vermuthlich in Strasburg qelernt hatte. 


Gr war Der erfte Buchdrucker in Deutfehland, welcher cin Buch mit Wntiqua- 
fehrift dDructte. Seine Bitcher waren mit vielen Holjfehnitten ausgeftattet. 


UVBEDEFGHFKLMNOYPORSTUB WKY 81234567890 


BOURGEOIS GERMAN TITLE, No. 490. 


Ulrich Sell, der erfte Buchdrucker in Koln, druckte nie cin 
Buch in deutfher Schrift. Scine fammetlidhen Bicher wa- 
ren mit qothifher Schrift von dreierlei Gropen qedructt. 


AVCDEFGHFKLMMROP $1234567890 


SMALL-PICA GERMAN TITLE, No. 490. 


Lange vor dem Tode Peter SchHffer’s hatte 
Miain; aufgebort, die grofe Schule und der 
Mittelpunkt der BuechdruckerFriorit ju fein. 


AVBCOCFGHIRL $1254567890 


ENGLISH GERMAN TITLE, No. 490. 


sohann Brito war viele Yabre lang 
Der cinzige Buchdrucker in Bruges. 


ABYCDCF 81234567890 


GREAT-PRIMER, GERMAN TITLE, No. 490. 
Harten der Gefundheit, ijt dev Titel des evften Buches, 
welches Schoffer mit deutyeben Lettern druckte. 1485. 


DouBLE SMALL-PICA GERMAN TITLE, No. 490. 


jm Jahre 14G2 beendigten Fut und Schbffer den 
foftipicligqen QDrucf einer lateini~ehen Vibel. 


DousLe ENGLISH GERMAN TiTLE, No. 490. 


Sutenberg yollendete das Katholifon des 


{ 


SOhaunes tim 


sabre L160. 


DouBLE GREAT-PRIMER GERMAN TiTLE, No. 490. 


Gutenberg trennte fich von 


| ‘sabre Wiad. 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
209 


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Die Buchorucerfinjt, deren Erjindung als eine? der folgenreiditen Greigniffe in die Welt 
gejdidte eingetreten ijt, wie farm cit amdereds auf die Entivicelung der Menjeyheit ein 
gewirtt hat, cine Kiunft, die nach ihrer Vollendung in weniger Sahrhunderter die Geftalt 
der Welt geiindert, fajt alle Joeen, die frither das Cigenthun weniger iifer thre Zeit 
hervorragenden Ropfe waren, jt ecient Gemeingute Wer gemacht, die Sutetligens, dic 
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und da, wo fie wirfen fonnte, die Bolfer mit vajejent Grjolge aus der Barbaret 
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LONG-PRIMER GERMAN CONDENSED, No. 491. 


Cin Buch vder fonftiqes Drucwert ann aber mittelft awwelerlet 
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ganze Dafelu in verfehrter Midtung cinicueidet 1d Yo Diefen 
aboruct, vder dadurd, dak man cinzelue beweglide Buchitaben 
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ENGLISH GERMAN CONDENSED, No. 491. 


Vou Sohaunes Gutenberg war der gliiclice, 
Der qrobe und frudthare Gedanfe MUSHeGatgen, 
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Seiten sulammensufegen. wit Diefem Ge- 
batten liegt Das ganze 2 Rerprent Der Crjinding. 


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BREVIER GERMAN CONDENSED, No. 491. 
Vt was befteht da3 Wefentlide der Buchdracerfinft, a8, woourd 
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vorbrachte, deren Ucberjicht in Gritaunen fest? Dies ift die erfte Fray 
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gen der Buchorucerfunft rithren daber, da mittelft derfelben Bid 
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PicA GERMAN CONDENSED, No. 491. 


Nur durd das Sujammenjesen einzeluer bemeglid) 
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faltiquirg Der Viicher wud damit die jjuellfte Verbreitn 
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Dew walyren wd eigeutlicjen Yamen der Buchoruderfun) 


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GREAT-PRIMEBR GERMAN CONDENSED, No. 491. 


Mar Der, welder den gittlicjen, Folger 
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jagte, ift werth, dab fein Mame water de 
qefeiertiten Namen aller Zeiten glin; 


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DovurLe SMALL-PICA GERMAN CONDENSED, No. 491. 


Die Stadt Weain;, das alte Mogquutiacnm, Hat doen doppelten un 
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der Buchornderfunit su fein. 


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DovusLe ENGLISH GERMAN CONDENSE pb, No. 491. 


Gutenberg wurde us Jahr 1399 in Main geboren 
Wid ftarb dajelbjt am 24. Februar 1468. 


GEORGE BRUCE’S SON & CO., TyPE-FounpErs, No. 13 CHampers-Street, NEW-YORK. 


S 491 AND 590. 


, No. 491. 


De Ralender Des Sates 1497 lwar cin 
Dructwert Gutenberg’s in qropem Folioformat. 


eNO o Le 


Der Bialter wurde von alift wid 
Schiffer im sare 1457 vollenoet. 


pie jtarb in oad 68. 


| SMALL-PICA GERMAN OPEN, No. 590. 
ites Gering und Mii acl geet burger Spite Die erties ‘Druderpe efre it ti | Smuts 
eten Die erften Buchdruckereien in Pari {and wade tt Gdinburg aufgeftellt. . 
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DouBLE PicA GERMAN OPEN, No. 590. 


Per Hoorn wanrte suerpt bie “‘arabiyehen Biffern an 
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233 


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TWELVE-LINE PICA BORDERS, Nos. 1 To 4. 


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244 


COMBINATION BORDERS, Nos. 2 anv 3. 


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COMBINATION BORDERS, Nos. 6 anv 7. 


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The smallest Font 
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The smallest Font contains—48 pieces of No. 1—16 each, Nos. 2 to 5. 


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GEORGE BRUCE’S SON & CO., TYPE-FOUNDERS No. 13 CHAMBERS-STREET, NEW-YORK 
248 


COMBINATION BORDER, No. 10. 


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The smallest Font contains—48 pieces of No. 1—8 do of No. 81— 
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GEORGE BRUCE’S SON & CO., Typre-FoUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
249 


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The smallest Font contains—16 each, Nos. 7, 8 and 9—24 do, Nos. 1 and 3 to 7—100 pieces of No. £ 


a. 


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GEORGE BRUCE’S SON & CO., TypE-FouNDERS, No. 13 CHamBers-StrEET, NEW-YORK. 
250 


COMBINATION BORDERS, Nos. 13 anp 14. 


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GEORGE BRUCE’S SON & CO., Typr-FounprERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
251 


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COMBINATION BORDER, No. 17. 


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The smallest Font contains — 24 each, Nos. 1,4 and 6— ~ 
16 pieces of No. 5—40 do of No 7— 
8 each, Nos. 2, 3 and 8 to 12. 


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GEORGE BRUCE’S SON & CO., TyprE-FounpDERs, No. 13 CHAMBERS-STREET, NEW-YORK, 
253 


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34 of each Character — 
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255 


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COMBINATION BORDER, No. 21. 


COMBINATION BORDER, 
== No. 21 = 


BURT RAREST 
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The smallest Font cont ains— 280 By ieces of No. 1—70 do of Nos. 8 and 9— 
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GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK, 


256 


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258 


COMBINATION BORDER, No. 26. 


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GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CuHAmBERS-STREET, NEW-YORK. 
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260 


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8 do, Nos. 4, 6 


Brass Rule, 
No. 354, 
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this Border. 


& 8—4 do, Nos. 
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GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
261 


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COMBINATION BORDERS, Nos. 30 anv 31. 


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nS) The smallest Font contains —16 each, Nos. 1, 2 and 3— 32 do, Nos. 4 to 8. ® 


GEORGE BRUCE’S SON & CO., Typre-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 
262 


‘COMBINATION BORDER, No. 32. 


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GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBEKS-STREET, NEW-YORK. 
263 


COMBINATION BORDER, No. 33. 


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The smallest Font contains—16 each, Nos. 1 to 6—24 do, Nos. 7, 10, 11 and 12— 
8 do, Nos. 8 and 9—4 do, Nos. 13 and 14. 


GEORGE BRUCE’S SON & CO., Typre-FounpDERS, No, 13 CHAMBERS-STREET, NEW-YORK. a | 
264 


COMBINATION BORDERS, Nos. 34 anp 35 


N Ney 9 RS 
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GEORGE BRUCE’S SON & CO., TypPr- “FOUNDERS, No. 13 CyHampBrrs-STREET, NEW-YORK. 


~~" | — 


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COMBINATION BORDERS, Nos. 36 AaNnpd 37. 


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5) Car WE (6 ¢ Go ON 2s VEE 6) @\ Weed (5 ©.) @) WE © 6) @) We 


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100 pieces of No. 2—4 do of No. 10. Exe i) sae 


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GEORGE BRUCE’S SON & CO., TyYPE-FOUNDERS, No, 13 CHAMBERS-STREET, NEW-YORK. 
266 


COMBINATION BORDER, No. 38. 


* 11 and 16. 
And also Quads. 


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A ~ D> - J < : . 5 z 
VS STN ee “Sees int — ry, » v BEY a ‘ a) LC ae 
SSS ie — PET Sw = “< mn Wii f LNG a G 


GEORGE BRUCE’S SON & CO., Typr-FouNnDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
267 


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COMBINATION BORDERS, Nos. 39 anp 40. 


The smallest Font contains—12 each, Nos. 1 to 5— 
® pieces of No. 6—4 do of No. 7. 


GEORGE BRUCE’S SON & CO., TypE-FounpErs, No. 13 CuamBrrs-Street, NEW-YORK. 
268 


COMBINATION BORDER, No. 41. 


Ne 


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The smallest Font contains—12 each, Nos. 1, 2 and 5— 
8 pieces of No. 4—4 each, Nos. 3 and 6. 


PAIN 


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GEORGE BRUCE’S SON & CO., TyPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK, 


- 269 


| 


COMBINATION BORDERS, Nos. 42 anp 43. q 


/ fone = 


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GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHamBErs-STREET, NEW-YORK. ° 
270 


COMBINATION BORDERS, Nos. 44 anp 45. 


The smallest Font contains— 24 each Nos. 1, 2, 4, 6, 7 and 8— 
16 do No. 3—8 do No. 5—4 do No. 9. 


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Combination Border, do. 49 


$ 4 5 6 7 8 
Fy = Fy =e ¢ YS) ( Ya) Oy Za —CaG Z <Sz =S ) 
The smallest Font contains 32 of each character. 
\ 
s, PCa IKE Oe PAL 
SAN <PN oF KS Bm AALS = 
OBE ERS Kel He 


URS PIPIGIY) 


SE 


GEORGE BRUCE’S SON & CO., TyprE-FounDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
271 


MIs OS) = Palan tS or Sen a path 
= € § — rag 
a i 7 


COMBINATION BORDERS, Nos. 46 anp 47. 


? tetevrrorwtdiels 
Palme voo ells | é 


Combination Border, No. 46. 


nes @& PSY 


1 2 3 4 


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The smallest Font con ean —16 each Nos. 1, and 38—24 do Nos. 4, 5 and 6— -@) I oy & 
8 of No. 7—4 sek Nos. 8 and 9. “ai 


Dd 


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(NEG DES 533 2 £9, SN a)P | 


The smallest Font eon ains—16 each Nos. 1 to 6, 
of 11 


() 
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8, 9 and 10 of No. 7—4 of No. 11. Na 


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GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK, 
272 


COMBINATION BORDERS, Nos. 48 anp 49, 


Ss Ve C ) Mieke “( \ \ | =} 
Go »\ Va mK — = —— =<) ‘ Y 


Border, 


Combmnatton No. 48. 


The smallest Font contains—24 each Nos. 1, 2 and 3—16 each 
Nos. 4 to 11—8 of No. 12—4 of No. 13. Also, Quads. 


| 
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COMBINATION BORDER, 


La) 


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GEORGE BRUCE’S SON & CO., Typr-FounprERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
273 


COMBINATION BORDERS, Nos. 50 anv 51. 


AIC) 
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Ses ESAS 

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A ACC 


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The smallest Font contains— 24 each Nos. 1 to 5—16 each Nos. 6 to 14. Also, Quads. 


ae 


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COMBINATION BORD 


The smallest Font contains — 
32 each Nos. 1 to 6—16 of No. 7. 


CV vg 
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(ere 
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Nea ae 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CuampBers-Street, NEW-YORK. 
274 


53. 


AND 


2 


5 


COMBINATION BORDERS, Nos. 


——K— 


3 


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S 
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The smallest Font contains —48 each Nos. 1 to 4—16 of No. 5. 


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The smallest Font contains—16 each Nos. 1, 


: = —. r 


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GEORGE BRUCE’S SON & CO., TypE-FounpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


Te 


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COMBINATION BORDER, No. 54. 


Soffa: Cates 
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EH WY Sw ( —~/ @\\S—\— 7 G, \ y 
<< O) o z \" Bs y) 5 
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= S LM S SFY yx 
& 1) ( y — 


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| The smallest Font contains— | 
16 each Nos. 1, 2, 5, 6, 9 & 10. 
fh 8s x66 “3 and 4. 

| che aN ‘7, Sand 11. 


Oi ; BE VES IB VR PS 
LG eR eR OTK OURO 


Cerys 
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GEORGE BRUCE’S SON & CO., Typn-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
276 


COMBINATION BORDER, No. 55. 


. i - 
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rc TTT 


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ENTRY 


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1b 
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SAD e raat rat Arba ame sane t aus dt 
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asi WM Uh line yt adele ir 
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The smallest Font contains — 
’ 4each, Nos. 21 to 41 and 66 to 81, 9 


4 » $8 do, Nos, 42 to 45 and 58 to 65, 
WHEN 16 do, Nos. 46 to 50, 52, 53 and 57, “s&s 
f&:, 60 do, Nos. 51 and 56. 
And also Quads. 


son 


in 


0 (QS) 


GEORGE BRUCE’S SON & CO., Typr-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
277 Teena 


| 


COMBINATION BORDER, No. 56. 


5 RE Nee eS ” EG 


COMBE NO. 56, B74 


3] 


DA 


Ss 
4 


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- <, 


IK > 
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The Characters 19 to 34 are Mortised. 


6 7 9 10 


® & “RO RL a 


The smallest Font contains— 
24 each, Nos. 1 and 2. 


\, 


LE LERNER PUL ERE ELDER DID RR III PIII RP RII INTE 


£3 £3 bs ks ks bs Ss ko ks bs bs BBB 


GEORGE BRUCE’S SON & CO., TypE-FouNpERS, No. 13 CHamMBERs-STREET NEW-YORK. 


278 


a 


COMBINATION BORDER, No. 56. 


\ 5 
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y° = x NVA 
ae Grr: VON SO 
SN “A >), S Mi 
(4 
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& AG Gea AFIS IE 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No, 13 CHAMBERS-STREET, NEW-YORK. 
279 


ep oe 


» ve 
Fn) 
a 
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me Fs 
' 
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Ta 
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= 7 4 Pte - 


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COMBINATION BORDER, No. 57. 


7 8 9 10 11 12 13. «14 


5 6 7 
Il @ XB AY 


for) 
—) 


Ver: 
VA Zs 


\ 
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= le 


x 


> —— ¢ 
Ny 0 es nO OG = OO a OG OG 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHamBers-STREET, NEW-YORK. 
: 280 


COMBINATION BORDER, No. 57. 


| 


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ZENA ANN NAN NN 


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Ny AI 1 
WI ili 


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HAM Hit Hi WW 
HMM Wi I] Hh 
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Hi HWM i 
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Zara ee 


aaa 


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— AMEE ME 


SMEMEMEI 
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GEORGE BRUCE’S SON & CO., Typs-FounpErs, No. 13 CHamBeErs-STREET, NEW-YORK. 
281 


MaMa adil ik 


ene 91 ome peli hE Nd Pa 


— eal isa 
OR mae ee ak ~ a ee 


Coy 

vie 

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. 


beets 


Pre 


CAA AA A\i/ 


= 


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~~ thenpatgyie ¥: afm a 
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COMBINATION BORDER, No. 57. 


The smallest Font contains — 
70 each, Nos. 1 to 4, 18 and 31. 
$5 HF Bite 1 


vo To . 
16 “ “ 16, 63, 65 and 66. 
“ 17 to 20, and 30. 


“ 93 to 29, 42 to 50, 55, 

56, 57, 68 to 71, | 
73, 75, 77, 79 to 83. | 
12 pieces of No. 62. | 


And also Quads 


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PB BE EEDA 


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aE 
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‘ : 2 MAD MY SAS dep eek, sepa Joey. CSE, USUI SS CUES EIS EAS 
} f i 
) } 


Zo 


= 77 


GEORGE BRUCE’S SON & .CO., TypE-FoUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
282 


ery a See ome. 3 a Sik RA ee: 


COMBINATION BORDER, No. 57. 


WE 


ANG 
SKS 


= ae 
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aaa 
sia 


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=| 
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\ ZINN WOK . INS /\ AOE JI ANAS HN FOG ISS 


= 


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GEORGE BRUCE’S SON & CO., Typr-FounpgERs, No. 13 CHAaMBERS-STREET, NEW-YORK, 
, 283 
« 


a , : P 2% Bis ae . Asaak 
ate ae Se to en eee wee i eed ad 


a 
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COMBINATION BORDER, No. 58. 


The smallest Font contains —12 each, Nos. 1, 2, 3, and Nos. 6 to 15— 
24 pieces of No. 4—100 do of No. 5—8 each, Nos. 16, 30 and 387 — 
4 do, Nos. 17 to 29, and 31 to 36—and also Quads. 


7 8 9 10 1] 12 13 14 15 16 


Ke & DL wh Ie Te TF Saath 


GEORGE BRUCE’S SON & CO., TypPE-FouNDERS, No, 13 CHAMBERS-STREET, NEW-YORK. 


284. 


COMBINATION BORDER, No. 58. 


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VERE VEEN Noes, 


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GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAmMBErs-STREET, NEW-YORK. 
285 


YP Pibetoh. fe detop 


a a 


COMBINATION BORDER, No. 59. | 
| 


55 56 


HE (Ee) “e)\ 


The smallest Font contains — 


1 each, Nos. 77 to 89, 98 to 109, 116 to 128. 
Die re 1 to 28, 89, 40, 41, 54, 68, 64, 71 


to 74. 
‘ 45 to 48, 59, 60, 76, 93 to 97, 110, 
111 and 112. 


“44, 52, 58, 56 and 57. 

‘ 49, 50, 51, 55, 66 to 70, 75, 113, 
114 and 115. 

‘ 29 to 38, 42, 48, 58, 61, 62, 65, 90, 
91 and 92—and also Quads. 


Gh) De 


GEORGE BRUCE'S SON & CO., Typre-FounpEers, No. 13 CHAmMBERS-STREET, NEW-YORK. 
286 


COMBINATION BORDER, No. 59. 


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PERE ERE ERT 


a: — cy =— = — es / 
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GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
287 


ty tg + ty get hth 
1} ’ 
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ee 


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4% 


59. 


COMBINATION BORDER, No. 


SRR RRRRRE GS 


may 


NY 
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= 
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(Cra CIES) 
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GEORGE BRUCE’S SON & CO., Typr-FouNpDERS, No. 13 CHaAmBEers-STREET, NEW-YORK. 


288 


7 See — 

(Wes 
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COMBINATION BORDER, No. 59. 


MY Esl 
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GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


a 
= 
a 


ae | 


pe 8 a = 
— 
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—— 
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COMBINATION BORDER, No. 60. 


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yy D> 7 


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sp sP aD nis AE 
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The smallest Font contains — 
17 each, Nos. 1 to 14, 28 and 38. 
Gi ub ‘« “15 to 28, 29, 31, 32 and 33. 
ue «24 to.27. 
‘+ 30, 34 to 37, 39 to 45. 
‘ 46 and 47. 
ue “48 to 69. And also Quads. 


= 
Swale Ly 


GEORGE BRUCE’S SON. & CO., Typr-FounpvERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
290 


COMBINATION BORDER, No. 60. 


, VEINS 


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Peper mn 
a lt a! ue uly. 5 | 


seeesssssssesssessseegg 9G 


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| Bi | 


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GEORGE BRUCE’S SON & CO., TypE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
| 291 


mW . ne 


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pe: y tyne init i 
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COMBINATION BORDER, No. 60. 


XY 


> AS AS ARS 
2 


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, { \ i — 


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GEORGE BRUCE’S SON & CO., TyprE-FounDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
292 


ph | ip i i 


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COMBINATION BORDER, No. 61. 


SS A elZ 
WEVA 


() 


(Nos. 32 to 48 are mortised.) 


ieee: 4 bs GT, 8 YO al 11 12 13 14 15 16 17 
mee aan LT ROD 6 PY ES ect re 


18 19 20 21 22 23 24 25 26 
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BA $ Et aN ‘e : sr i 

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DREH RG 
The smallest Font contains — 


12 each Nos. 1 to 24— 6 each Nos. 
25 to 44— and also Quads. 


UNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


GEORGE BRUCE’S SON & CO., Typx-Fo 
Sa ey . ey. oe »293 ail ah |= hie ar A ae 
rats ie a a . oY: i - 4 a; . ” ws ies : i ar oo . fos wy 


Bee nk Piasles be 


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p: fhe BEE cee 


Te 


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COMBINATION BORDER, No. 62. 


3 
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2 


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(Nos. 6 to 10 are mortised.) 


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Beart “4 and 5. 


16 * sm 6 to 10. 


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GEORGE BRUCE’S SON & CO., TypH-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
294 . 


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COMBINATION BORDER, No. 68. 


1 2 3 4 


: 7 8 9 


Nos. 12 to 43 are Mortised, and Nos. 25, 26, 27, 
QZ) =H 38 and 39 are also Cored. 


This Font is divided into two Sections. 


Section One contains— 
$ each of Nos. 1 to 11. 
12 to 24 and 28 to 33. 


25, 26 and 27. 


Section Two contains — 
2 each of Nos. 34 to 43, and also Quads. 


PSS TE es 


COMBINATION BORDER, No. 63. 


GEORGE BRUCE’S SON & CO., TyPr-FounprErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


COMBINATION BORDER, No. 63. 


GEORGE BRUCE’S SON & CO., Typr-FounprErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
297 


i by ij at Rites 


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COMBINATION BORDER, No. 64. A 


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17 te “8 and 18. y 
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4 “22 to 39. 
And also Quads. 


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GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 
298 


64. 


COMBINATION BORDER, No. 


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4 =) 


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17 each of Nos. 2 and 3. 

3 * 1, 7, 8 and 33. 

4 f * 4 to 6, 9 to 26, 29, 30, 34 to 39, 41, 42 and 46. 

2 p “27, 28, 31, 82, 40, 48 to 45 and 47, and also Quads. 


GEORGE BRUCE’S SON «& CO., TypE-FounpErRs, No. 13 CuamBers-STREET, NEW-YORK. ~ 
ve) a ; thea 
; 300 ; aca. in aoe ie. p 


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GEORGE BRUCE’S SON & CO., Typr-FounprrRs, No. 13 CHAMBERS-STREET, NEW-YORK. 


re, 


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COMBINATION BORDER, No. 66. 


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The smallest Font contains— 


70 of No. 11—8 each Nos. 1 to 10, 12 to 27— 
4 each Nos. 28 to 31, and also Quads. 


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302 


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if 
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8 29 


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The smallest Font contains — 


17 each Nos. 1 to 6—8 each Nos. 7 to 15— 
¢° 4 each Nos. 16 to 34, and also Quads. 


Ne \S Ww /\]\ W/\*] \N/\ rN 

Ae th: VON 

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308 


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GEORGE BRUCE’S SON & CO., TypE-FounprRs, No. 13 CHAMBERS-STREET, NEW-YORK. 


7 
+ 


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COMBINATION BORDER, No. 68. 


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on a Combination Border, No. 68. 
/ Ste ees oer == G) 


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The Smallest Font contains — 


35 of No. 4—8 each of Nos. 1 to 3, 5 to 7—4 each of Nos. 8 to 15, 18 to 26, and 37 — 
2 each of Nos. 16, 17, 27 to 36, 38 to 42, and also Quads. 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
304 


j COMBINATION BORDER, No. 68. 


<= + <P: <<: =D ys <a> <> —=—D- —p- 


eVeeesoseseoeeeeoes 


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oe oo ee cae ale 


MY 


GEORGE BRUCE’S SON & CO., Typr-FounprErRs, No. 13 CHAMBERS-STREET, NEW-YORK., 
305 


sais veh pws 
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Rule No. 316 can be used with this Border. 


The smallest Font contains—17 each Nos. 1, 2and 5—4 each 3 and 4, 6 to 24. 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, 
* ‘ be ‘ avs 
} eae SOC.” ail it er 
} ‘ i Pes 


NEW-YORK, 


. 


< Cran ot ye 
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COMBINATION BORDER, No. 70. 


DET, 
OPA Bi! iN 


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pA Rule, No. 357 | 


n a4 { 


wae Sa ie 


this Border 


3 4 5 6 7 8 9 10 11 


20 21 22 


= 


The smallest Font contains — 


35 of No. 10—8 each of Nos. 1 to 9—11 to 183—18 to 22— 
4 each of Nos. 14 to 17, 23 and 24. 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
307 


Sateen dei acne - 
e+ +? 
aaa eh A > 
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Rule No. 3064 can b ed with this Border, 
(0) 


The Smallest Font contains — 
s. 1 to 11—8 each of Nos. 12 and 13—4 of No. 14. 


so 6 
) 
SEATS 
Lap. 
1 2 
10 11 


if 


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20 each of No 


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GEORGE BRUCE’S SON & CO., TyPe-Fouxpers, No. 13 CHAMBERS-SteueT, NEW-YORK.  —S>_ 
i ‘ SORE : - ; 


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BRASS RULE. 


iN 


EBS at 
Sold in strips of TWO feet each. (See pages 314 and 315 for Ornamental Corners to fit every kind without justification on the outside.) 
Number. Body of Rule. Number Body of Rule 
301 ———— —— 1/16 PICA. a ——————————— = —— 1/4 Pica. 
 — —__ ns li, «¢ So eee 
303 (RRS RESETS TS ACESS ENE RT 1g e 339 3 8 ‘ 
3 ————— | te 
. 2 a eee eee eee ee 
305 ——____—____— BE ee 
2 SS a ee eee et 
—[—[— ee 
300 = mas Se OG : 
3063 je) 
SOC ea ae aignaaiig i, Kae aia en 5lg + 
307 —— 3. i, TEA 
os 
338 re eat eal PME oe 
_— a . Sa eee 
339 1 ‘ 
RA NTI BS A 
340 — ee ee == = Cys, ub 
a = == = ———————— Lace the ee WO I se 
1‘ 
| 312 = = ——— ~ Hy ax 
| DO cc | 2 6“ 
313 as Bla : 
i ? ee ee eee a éé 
a = SSS es | Bs 28) oF 8 
if = = = eS SS 
| 315 = = ses — 3) a ()) (Pea AE is} Oe 
| is aan Oe Ae A at oe Se ee 
as = bee L Le | 
| 317 ae igo - 3/ 
' — = —— 18 346 | ee ed 3/g oe 
318 ayy We 347 = SSS — Ie * 
| 319 jak oe = lg 
eee ye 349 : 1S Bas. 
eee 350 era EN NR ASE SEE oan — : Tg + 
SO ———- — 
SS | on 
Cc _ 3 g a 
i — SS RS EE RE IT EE SS SS e 
395 3/0 ‘ 353 = = 1/5 ¢ 
| 
| 22) A |) | = SSS Bole 
32] —_—__—— ee OC 355 ee ——— SSS ST 
ao ee rat i —ooO—__e_—e——_ 3,“ 
= NE SE SRE ES CRORES SIE REE 
TE Se i iT: SS eT 


GEORGE BRUCE’S SON & CO., Typr-FouNpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
309 


c A ot aD — 2 
n : ba Le Abas 

et Sy Si sane 
a me vba yy eeaetetiesnprin 


Cm 
Eek 


COR eeene 


tI 


cn Swe 
feet te ae 
oe . Wwe 
ri (RRA 
ir ers, 


LE LE SF Ae 
Rigs Ta at 
: ms, peach 
, = agit s ar Pu ye 
— a ce 
ae 


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. 


i St AY 


‘ - - 


P| 


RS OS ee Ne 


BRASS RULE. 


Number 


358 


359 


360 


~ IN 
9 
N R 3) x > JS 
\ we Ce Rw ‘ 
TNO FUNIW FR LE {IO 


(See pages 314 and 315 for Ornamental Corners to fit every kind without justification on the outside.) 


Sold in strips of TWO feet each. 


\uansusseaeucusanenceusneseseseueuenuceeeeaussscencueuesescensaeeceueuesesusennescouseusen 
PIPPEITIISIIIIISIITII ITT 
AODUEAUOQOUUENOUOROUOSEODOOOREOUOOORUROUGUOCGERCCOOUGULUDEOUOUSUCHOONEUNUNURCERECHOEOOUEOE 
DODDODDDUEOOUDEDUOODOGOUOUDNDGODDDADDRUUDDOQSDHUDOUURERADORDODDODDDOOBOROOBOOG0B0000000000 
aa ee Sennen eee eee eee eee eee 
SESSA SSS SSS eee 
TTT ETT TTT TTT 
Delle alee lletatet eet aLet et lale Leet llLele tee Lelatate tebe babel 
(BBR RSE RRR RTE Ree ee ee eee eee 
PRR EBB RBBB ERR RPeeeeeeee|s 


CN a 


a a a eS 


ON RR RR RR oa) 
aaa 


oe oe oe oe oe oe ore we oe on oe we oe oe cere cone 


aaa aa eal lla a ale el Pia Ae ie MATEO LT ATO LT Tate 


aa aaa al aaa aia al il ial ail Aa il Pi ae el Pare 


Body of Rule. 


1/g PICA. 
Ig 
se a 


3/e “ 
3) 8 “ 
1/4 “ 
3/e “e 
3) a 

Ig Me 


1/¢ 6“ 
1/4 “ 
1/4 “6 

“ee 


TON 


Number. 


388 


389 


390 


391 


WW TIMI 


OOOO» 
— Ee > 
—— —_~— — Dae 
Se = —— 


Body of Rule. 


1/4 Pica. 


d/g oe 


GEORGE BRUCE’S SON & CO., TypE-FounvERs, No. 13 CHAMBERS-STREET, NEW-YORK. 


310 


BRASS RULE. 


Number 


416 


417 


Sold in strips of TWO feet each. (See pages 314 and 


ee oe 


ss hhththethentheththenthenthenthen han hrecerlaxtadendandheathecdhehathectadcdecdhcdhadhededechechecdhertecterhendeahecd 


4 


a 


S BUUH. 


315 for Ornamental Corners to fit every kind without justification on the outside.) 


Body of Rule. 


PICA. 


Number 


Ce 


440 eee eee reese sere eseeeees 


448 


449 


Body of Rule 


9/8 


on 


GEORGE BRUCE’S SON & CO., TypE-FOUNDERS, NO. 13 CHAMBERS-STREET, NEW-YORK,. 


311 


PICA 


wees FeUEe, 


| mek POL Rg AG > edmeroom bn CUR: Lee > AL engage eee beer tral LAE 


oo oo ee oS SO bs Bees SES FS ss 6 ee es Fs 4 


: <i ee oe aes eee 
i 
¥ t 


r , 
™ - » - ‘ 
H ee a eT a ee 


a 
fi - i = ¥ 
PE RY ele ee ee ae ae i 
| : < 1 oo 
} - ; f 


AAT We RA elem 


At. AAAERRRABEES ht Spee heaton al 


- as ee 
tvad PRBS A LOSE OD OAR eee PRE  ees iwi 
——_a— ae eee ee eee ae ee 


eee ee ee ee) 
ae oe ee ee 
‘SS ise 
SAARAAADSSA SPEAABEAAAERAAE ES Aes (int 


of: SP RARR A MADOARASAADAAE EE AERA ARAM RME  o) ie 


Re Pani a a * te a ln th lm Mlniios Aas bat . 


A. athe. the. de dle, tha cil te Me 
ee ee ee ee ee ne Se we ee 


CLhLhbbhbhhhebhbh nh hhc e 


ee ee a ee ee 


Saeco gtoch lien athe ie 
rac Grete 


115 


116 


117 


120 


126 


129 


132 


BRASS, AND BRASS-FACED RULE. 


BRASS, AND® BRASS- FACED RUEE:. 


SOLD IN STRIPS OF TWO FEET EACH. 


BRASS RULE.—PIca. 


| 
| 
| 
| 
| 
| 


\| 
|| 


| 
| 
| 
| 
\ 
| 
| 
| 


| 
| 
| 
| 
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| 


| 
| 
| 
| 
| 


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| 


| 
| 
| 
| 
| 


150 


15¢ 


156 


160 


162 


163 


164 


165 


166 


BRASS-FACED RULE.—THREE-LINE NONPAREIL. 


| 
| 


| 
| 
| 
| 
| 
| 


| 
| 


| 
| 
| 
| 
| 


| 
| 
| 
| 
| 
| 


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| 
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| 
| 


GEORGE BRUCE’S SON & CO., Typr-FouNnDERs, 


No. 


13 CHAMBERS-STREET, NEW-YORK. 


a 


BRASS-FACED RULE. 


Iino eA) Fall lB, 


SOLD IN STRIPS OF TWO FEET EACH. 


TWO-LINE PICA. 


er 
~I 
99) 


| 
| 


179 


| 

| 

|] 
| 


| 
| 


180 : = —— 


183 


184 


185 


186 


TWO-LINE PICA. 


193 


———=—<—<$—$——$——— 


195 


196 


| 
| 
| 
| 
| 


LOZ 


198 


199 


| 
| 
} 


200 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


313 


ete $e eo PPT SP Sy VRS Tr ROOD 
. E ; re ta ’ 2 EA SEE LT TIRE: 1 Tf 


CO 68 he ET EM 


> ed 
ERIE 8 ee ET nN 
ES 2 yO 


- 


- i <a te 


@ crve ee cae 


- SEIEEdiediesEoade ae SR 


oo = << ed 


LOLOL LOO: ; 
(ORE se IE AC i > 


. Pe 


} 
‘ aN Eh ee hae y ott 


Cy pe 


4 


cs 


« 


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> sselthed? 


eee ret eee re 


A 
4 PO RSA 


ORNAMENTAL CORNERS. 


CORNERS POR BRASS RUIGE: 


These Ornamental Corners (Mortised) are made to fit, without justification, every kind of Brass Rule shown on pages 309, 310, 311. 


Price for a set of 4, Double Pica, 30 cents; Three-line Pica, 50 cents; Four-line Pica, 75 cents. 


2302. 2303. 2304. 2305. 2306. ‘ 2307. 2308. 
Rule 302, Rule 303 Rule 302. Rule 302. Rule 302 to 317. Rule 301 to 306. Rule 301 to 306. 
372 to 376. 311 to 315. 311 to 316. 
388 to 393. 372 to 376. 
388 to 393, 
( oan Q) ye an 
MGS ASN ORG 
¢ WG . LE 
e CEN @ y 
a ICY 
a2) \ 
S 
= Ss} 
2309. 2310. as Sale be 2312. 2313. 2314. 2315. 2316. 
Rule : Rule 301 to 806, Rule 811, Rule 312 to 888. Rule 313. Rule 314, 389, 391. Rule 315, 392. Rule 316, 390, 393. 
E 311 to 315 


c WE SAV etc 
3 pe) va LACE 
ors ait i (ANG) 
(| SOK 
2317. 2318. 2319. 2320. 2321. 2322. 2323. 
Rule 318. Rule 319. Rule 320, Rule 321, Rule 322, Rule 323, 


MN FQ) 


Lees 
h e\ Mee YC} 
( S| SS 
F 
Cy, C 
| 1 ~) ects) 
2325. 2326. 2327. 2328. 2329. 2330. 2331. 
Rule 825, Rule 326. Rule 328. Rule 329 Rule 830, 394, Rule 331, 395, 
397, 400, 398) 401 


2332. 2333. 2334. 2335. 2336. 2337. 2338. 2339. 
Rule 332, 403, Rule 333, 396. Rule 334, 399, 404 Rule 835, 407, Rule 336, 405, Rule 337, 408. Rule 338. Rule 339. 


402, 406. 


* 
(ou) 
2340. 2341. 2341 19, 2342. 2343. 2344, 2345. 
Rule 841 Rule 341, 430, 481. Rule 342. Rule 344. Rule 345. 


Mowe 


/ 


or 4 or lard . > « AQ 
2346. 2347. 2348. 234819. 2349. 2350. 2351. 
Rule 346. Rule 347 Rule 348, 430, 431 Rule 348, 430, 431. Rule 349, Rule 350, Rule 351. 


| 5 


= 


GEORGE BRUCE’S SON & CO., Type-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
314 


ORNAMENTAL CORNERS. 


COM Nini ior IBA Itoi 


2377. 


Rule 377 


2385. 


Rule 384, 385. 


BR 


2378. 
Rule 378, 379, 
hottom of 301, 


2380. 


Rule 380, 
bottom of 804. 


2381. 


Rule 381, 


2382. 


Rule 382 


2396. 
Rule 394 to 398, 


400, 401, 
403, 406, 


ie 


2410. 2411. 2416. 2436. 2438. 2439. 2440. 
Rule 409, 410, Rule 411, 415. Rule 416 to 420 Rule 436, 487, 441. Rule 438. Rule 439, Rule 440, 
412 to 414. 


= 


2454. 


Rule 453, 454, 


arpeoy 


2452, 


Rule 451, 452. 


2456. 
Rule 455, 456. 
reece 


2450." 
Rule 448, 449, 450 


2447. 
Rule 445, 446, 447 


2443. 2444, 


Rule 444. 


2465, 246510, 


Rule 465, 


2466, 
Rule 466, 


2463. 2464, 


Rule 463. 


2460. 
Rule 459, 460, 


2462. 
Rule 461, 462. 


Rule 464, 
Vy 


Le 


ae a 


2473. 


Rule 473. 


247319, 
Rule 473, 


a 


2474. 
Rule 474. 


2471. 
Rule 471, 


2472, 


Rule 472 


2468, 
Rule 468 


2470. 
Rule 469, 470. 


Rec 


These Ornamental Corners (Mortised) are made to fit, without justification, every kind of Brass Rule shown on pages 309, 310, 
. Price for a set of 4, Double Picea, 30 cents; Three-line Pica, 50 cents; Four-line Picea, 75 cents. 
2352. 2353. 2354. 2356. 
Rule 352. Rule 353, 432. Rule 354, 434. Rule 356, 435. 
2358. 2421. 2359. 2360. 2364. 2368. 
Rule 358, 383, Rule 358, 383, Rule 359, 386, 387 Rule 360. Rule 361 to 364. 
421 to 429. 421 to 429. 


311. 


2357. 


Rule 357. 


2371. 
Rule 869 to 371 
botiom of 305. 


2405. 


Rule 399, 404, 405, 
402, 407, 408, 
bottom of 303. 


2442. 


Rule 442. 


2458. 


Rule 457, 458. 


2467. 
Rule 467. 


GEORGE BRUCE’S SON & CO., Typr-FounpErS, No. 13 CHAMBERS-STREET, NEW-YORK. 
315 


| 


. Pe ee ew EEO Thee PUREE DL TESTER ee OT OMET SC TED Fees a 4 


. 


Ca ee oe ene ae 


i 
: ; eo ‘ ri 
a ee oe ‘ 
A « at iwd aa —fr tel (@ took Nev Mee ae {rege (plotd 410. 8)} 


ul ; pene eth the tee dey TAMaitees > nrttin Citas hens! ae in seen hit es de 
4 ton A ee) ngiiartlh emer 1 awl aideath 2 to Me « aol ell 


: I Cn 
* - ah : ‘ 4 Sars 
; hy ane ¥ mm 
oe oon » Rae” tt SS 
y 7 ate ire 2G wha 
. Soe a & ae 
tr 9 
eee ak 
x IC 
(* 
Dy 
wig to p =A tie 
: HnRy ; LT = ee SS oid den 
ive wef re at AP oe ec 6 wea 
. he 4 Ee 
. n a 4 ‘ = &* 
Wace le : ef Gees 
' \ ie 
tes 3 To 2 
s Me a 
F . { 
ra a 7 vals : #39, 
A wuahe lly 2 ¢) $a 


side Sha 


~ Rte De ee 


Pv ree Taga ati Ls 


Dohanee 


A Metta b AM BB Plt Bl Led 22 Bonbon BB TS 6 L AM ttle A Lt b> Sate Bird Me Me. 


re RSIS SE GSD, ra SLE ER Ta A ey 


A a re ae) 


b 
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> 


= 


ee 


Ore TRF 


REITING? BGT SEITE 


7 . 
- i. -« 
© we d jeae a . ~ ' ne 
i ET ae Ly ae ip Ai Nae a 
eal Sk ae ayy tere al 


ae a . we 


LABOR-SAVING BRASS RULES. 


HH TAA EAT = : 4 
| | | af : qy 2 : 5 p ae ye 5 
WT TE || WTAE AT WH) WL jv wien; Qf TG) Be 
AE AA | || Hl \BOR-SA V NG LB SUAS g 
| | | ‘ae = = = as! — a as eae a 
1H] 1 | | | | , i uu & 
{I ||| Hilton | || WO TEAL | FOR g 
| £ 
\ fee | a 
| I| | WHT 
BORA SHIa AIOTa IIIA A | LABELS, TABLES, AND GENERAL WORK. ; 
| | i |] | | | | V1] | 2 a \ 3 
$ | | | \| | 5 ES) 
EIT ALATA | \| 4 THE SINGLE, PARALLEL AND DOUBLE RULES ARE st a 
Ba iI WA HNN alee 5 SOLD BY THE FOLLOWING SCHEME: Sil ‘Se 
Sy tt | | ° 2) | - 
rte | | = 12 each of 1to 6 ems, rising a Pica en, being 132 pieces. ceil. 2 
| || = : : Gab 
{| | || || y ne 7 to 16 we GN iGray, OF alae 8 Sate EZ 
| | | | = 17 +026 “ a HS em, as COM cata 3 
| | A S | 1 & 
yi \| \| % 27 to 86 Beem, 40 eo ety & 
1 || | | | s mitred pieces, 2, 219, 3, 319, 4, 449 ems, 96 = ati eth 4 i 
\| 2 Cee a is 
Z Making a Total of 428 pieces. =| 1 a 
log Hi Ps eee , Paha 8 
= | 3 With such a set of Rules, any Printing Office is adequately Be a ry Rn 
Ss | = supplied with sufficient to set up every description of Tables, ey ; \ iI 
fm | | 4, Labels, or other Jobs requiring even or uneven lengths of \ ie ‘ipa a 
cs iS | Rule. They are executed with great nicety (so that, if it 2) 4 b 
| Ee | > is required to piece them, the joints cannot be discovered), an ' ! iS 
| (ea = : ; ~ r : ft | a 
By Ee] and being all cut to regular measures, render unnecessary e! Uh \ | 
| | a the constant cutting and consequent waste of Brass Rule. eI H 2 
<q yy Se Peni ys hi 
ce || ; CASES, $2.00 EACH. Sue far i ies 4 
a ' N ~_ 
x 3 | \ A aire t m4 
B Setar eames atboala a 
2 DOUBLE RULE.—weight about 11 1b. 8 0z. Price, $1.60 per Ib El ah Haat 3 
ae es — l ( i i uy 
2 — Sat a Baht a a 2 
< <= = _ - — aura Hedi pny ma Re A 
> er — \ oat 
Z == = F a eer bs 
SS = ; ———— eee eee eae 
TY a 1 | 
= E a= = = = & ! Per yet dl atl rn i - 1 oy f 
Eee a = Taped end 1 ae 
ee ———— a ' 1 aelateeligag ; 
| ———————————— —————EEe ol, HiT a ra i mh aa 1 at ' 
——————————— Se AQ! ' Na Goat ht h n 


7th Series. 


| Ce 
bth Series. 


Smallest Font weighs 
18 1b. 0 oz. 


— - ——— - Price, $1.50 per lb. 


| | Smallest Font weighs | | 
9 Ib. 0 oz | | 
| = 

| 

| 


Price. $1.60 per 1b 


| The 4th to the 11th Series are put up in Fonts of one-half the quan- 


tities mentioned in the above scheme. Series 10 and 11 are cut without | | 
a shoulder on the heavy side of the Rule. and with inside and outside 


mitres, so that they may be used double, as in Series 10 surrounding this 


| 
| 
paragraph. | 
| 


10th Series. 


8th Series, 


Smallest Font weighs 
9 Ib. 


Smallest Font weighs 


9 lb, O oz 8 oz. 


Price, $1.60 per Jb Price, $1.60 per lb. 


9th Series 


11th Series, 


Smallest Font weighs 
19 Ib. 0 oz. 


Smallest Font weighs | 
18 lb. O oz | 


Price, $1.50 per Ib. | 


Price, $1.50 per Ib. 


GEORGE BRUCE’S SON & CO., Typr-FounpERrs, No. 1! CHAMBERS-STREET, NEW-YORK. 
316 


BRASS CIRCLES. 


From No. 1 to 5 of either kind, 60 cents each. From No. 6 to 10, 75 cents each. Nos. 11 and 12, $1.00 each. 


A set of 12 pieces of either kind for $8.25. 


SINGLE. 


PARALLEL. 


DOUBLE. 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
317 


76 
= 4 
Tt aie 
s ¢ 

=a . t? 64 , i 
‘ ie Tt a oe SD a 
id ee. eee ee ee 
- en ee eh a Ree = ———— 
he cen 


Ae ae de okt 119 *Plny peu tA heteh vabtie ty (rot aA mrt 


Oe wend Ge Bi? Views ales, 


1,4: P4tAe 


BRASS ELLIPSES. 


DOUBLE. 


SINGLE. PARALLEL. 


BRASS ELLIPSES. 


(86) 


eo 

From No. 1 to 5 of either kind, $1.00 each. 
From No. 6 to 10, $1.12 each. 

Nos. 11 and 12, $1.35 each. 

A Set of 12 pieces of either kind for $12.00. 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHampers-Strert, NEW-YORK. 


318 


é 


BRASS CIRCLES AND ELLIPSES. 


2 ee LITE IIL LLL PLLL TILT TEE PEPSI PPP EPE PP EPSP P EPP E PEPE SPE PEEESET PEPER EETER EET I UAT EAIEA REET EECETALESIESIODIOUI EDI COSOFEATOCTEIIDIFOLTELITTEITOONG AY QO- 
Y: oa 
LA ey 
\ ny Se fe 
ne 7S 
eS \ 


a F ) 
= nS 


AROS ESUESEDSEOEROTEEELEEDOREER ODES ESESSELOOSESSSRESESSEEESSS OSES SONS EDS, 


TRIPLE. 


From No. 1 to 5, 60 cents each. From No. 6 to 10, 75 
cents each. Nos. 11 and 12, $1.00 each. The Set of 12 
pieces for $8.25. 


QQ) 


TRIPLE, 
From No. 1 to 5, $1.00 each. From No. 6 to 10, $1.12 
each. Nos. 11 and 12, $1.35 each. The Set of 12 pieces 
for $12.00. 


(A ESUTETEESESEASEUSESAST TES EROSEEOSESEOEESIESSSESIAEETOOSOOSSSORESOOENEEEOREOEAESESESOSSSOSEESES CESSES SE see enEcEenencEEEeureonenene, 


aaa e 


{ 


ie nae > 
tka 
Db | (i 


OC Dyeene 


( oe 4 i) 
, SEAS 
SS ee ee — * = > a = = _ — a ~ — — ae 5 


} , 


GEORGE BRUCE’S SON & CO., TypE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
sl, 


FANCY BRASS CIRCLES AND ELLIPSES. 


im ra = 
BScy 
~~ ” 


“FANCY BRASS CIRCLES AND ELLIPSES. 


Brass Circles and Ellipses from all patterns of 
Brass Rule exhibited in the specimen book can be 
furnished to any of the 12 sizes shown on this 
| page. 


+e 


PRICE OF FANCY CIRCLES. 

Nos. 1 to 5, 75 cents each; Nos. 6 to 10, 90 cents 
each; Nos. 11 and 12, $1.12 each. 
PRICE OF FANCY ELLIPSES. 

Nos. 1 to 5, $1.12 each; Nos. 6 to 10, $1.25 
each; Nos. 11 and 12 , $1.50 each. 


aa2@a 
of re 


6, Rule ¢ 


WS £ Rule ®, Y 


» Sy, Hey, “A 
RS Rule 8-74 


rw Vv 


So gee 12 2 Rale eee 


GEORGE BRUCE’S SON & CO., TyYPE-FouNDERS, No, 13 CHAMBERS-STREET, NEW-YORK. 
320 


BRASS DASHES. 


Jetiatdruieyre» IDs Cre) dak es). 


10 Cents each. 10 Cents each. 10 Cents each. 


From No, 56 to No. 60, 15 Cents each. 
From No. 61 to No. 68, 20 Cents each. 


No. No 

| 43 i ai edie ieee 56 . 

| a4 >< 57 Je ee 

| 45 Eo a 58 es 
46 a 59 eS er 
47 = ye = 60 ee ee 

a a 6 po ie 

| 49 <> <a 62 $< 

| 

| 5° Se age 63 a 
ay rt 64 <> ~<a 

Ot SE 65 Ve ée 

| 53 2 \ 66 <--> 9 04 


GEORGE BRUCE’S SON & CO., Typr-FouNpDERS, No, 13 CHAMBERS-STREET, NEW-YORK. 
321 


‘ a Tt 
oe | at 
iv i 
fedaital 
' 
4 
et ) re 


ae gn ANS I 


‘o PRECT Pe oT). PT PIpeee 
ba eaa Beane! ELLIPSES 


Pte tn 


AoBs gine ‘ol 


Maes Shiitake Kak, al 


4 Py ta 


a 


ine Was Fa 


— 


a, 


ie amt 
oe 


i ee el ees eee 


INITIAL ORNAMENTS. 


First SERIES —60 CENTS EACH.— $12.00 PER SET. 


aM 


aie 
ri 


Mi (iti, 
y rl i 


SECOND SERIES—50 CENTS EACH.— $10.00 PER SET. 


FOURTH SERIES—50 CENTS EACH.— $10.00 PER SET. 


MirrH SERIES—50 CENTS EACH.— $10.00 PER SET. 


ABE DEF 


SrxtH SERIPS—4o CENTS EACH. — $8.00 PER SET. 


GEORGE BRUCE’S SON & CO., Typr-FounpDERs, No. 13 CHAMBERS-STREET, NEW-YORK. 


322 


INITIAL ORNAMENTS. 


SEVENTH SERIES— 40 CENTS EACH.— $8.00 PER SET. 


GEORGE BRUCE’S SON & CO., Typr-FouNbDERS, No. 13 CiAMBERS-STREET, NEW-YORK. 


323 


wie) Fie at Say ee! 


Be ais? Sad 

* es ae jm ety hs ie 

f : wae. 
sca ; 

*) 


INITIAL ORNAMENTS. 


60 CENTS EACH.— $12.00 PER SET. 


SIXTEENTH SERIES 


GEORGE BRUCE’S SON & CO., TyPE-FouNDERS, No. 13 CHAMmBERS-STREET, NEW-YORK. 
"324 


0 INITIAL ORNAMENTS. 


NINETEENTH SERIES— 40 CENTS EACH. — $8.00 PER SET. 


ee 00) Gy ro ? — 
Ni \ 9A (Bp FEO 


NN 


QUI 


ESE 
Aas 
nn 


ay / de 
OY A 


KZ 


S me ~ 
C ( CNL =) 
alin TS ate 
es WYO c 


Seb 
oH » 4 
WE) & 
$NA 


iy, 


ls 


A 


BRUCE’S SON & CO., Tyrr-FounpErRS, NO. 13 CHAMBERS-STREET, NEW-YORK. Zs 


325 


ra pu ae Say : 


Se ANE Te 


} ; , 1% 
} a. 4 a 
¥ { i s 4 ry 
a a — as ft 
b i 
Ps + 
eS 
\ = tis 
oy 
ct d Z: a 
i % 7 7 ' t 
bce ue 
> wert ae 
ry , ee PS 


" % , 4 ‘ ‘ . ; * ay J Ne ‘ ; D4 , 2 | ie a > “ed 
. ~ 7 pu & 7 e 
(a. | «4 he 


ie Let irae Gr ae mye id 


1,601. 2oc. 1,610. 20¢. 1,611. 20¢. 1,612. 20¢. 1,613. 20c. 1,883. 20c. 1,884. 20c. 


1,889. 25. LSS OOMmes Cc: 


3:800; toc, “os S0l. rac. 3,802. roc. 


Dood SIAN 


NI 


G 
S 


GEORGE BRUCE’S SON 


SVK a i\EE Vern ware 
ye = RS 


3,809. 20¢. 3,810. 20c. 


ORNAMENTS. 


All Ornaments on this page justify with Nonpareil. 


1,888. 206, 


1,892. roc. 1,893.. xoc, 


A Font of the following 33 Ornaments costs $5.00. 


3,803. 156: 3,804. 5c. 3,805. 15¢. 3,806. 15c. 3,807. 15¢. 


3,831. 25¢. 3,832. 25¢. 


& CO., Typr-Founpers, No. 13 CHamBers-STREET, NEW-YORK. 
326 


ORNAMENTS. 


——)) sex SS 
Cai / oo 


(st72-a1010€2 lb 


One set, consisting of 4 each of No. 2,900 to 2,916, and 1 each of the rest for $10.00. All justifying with Pica. 


mueasaeanise ll Do oe 


| 2,900. 2,901. 2,902. 2,903. 2,904. 2,905. 2,906. 2,907. 2,908. 2,909. 2,910. 2,911. 2,912, 2,913. 
5e. 5e. 5e. Be. 5e. Be. 5e. Be. De. 10¢. 10¢. Be. 10e. 10c. 


—_ 


al 
r 
i 

} ‘ 


= s ( = eS KS 
2,914. 2,915. 2,916. 2,917. 2,918. 2,919. 2,920. 2,921. 2,922. 2,923. 2,924. 2,925. 

10¢. Oc. de. 10e, 10¢. 10¢. 10¢. 10¢. 10¢. 10e. 5e. Be. 

s Co Co x Cc) (Qa & 
aCs- 2g Ar 5 See ; 

= ( é AY 
S } Sr) ae > Zz 
2,926. 2,927. 2,928. 2,929. 2,931 2,932. 2,933 
10¢. 10¢. 10e. 10¢. 10¢. 10e. 10e. 10¢. 


2,934. 2,935. 2,936. 2,937, 2,938. 2,939. 2,940. 2,941. 2,942. 
10e. 10c. 10¢. 10¢. 10¢. 10¢. 10¢. 10e. 10¢. 
| a \ : a 
KAP (pp a es WN y aXe Ze) zi \ ‘ SS ¥/ AS 
on y SEE ‘ Gsae Fe () a 
4 2,943. 2,945 2,946 2,947 2,948 2,949 2,950 2,951 
10¢. 5e 10¢ De 10¢. 10¢ 10¢ 10¢ 


k= 
JE) ee 
2,953. 2,958, 2,959. 2,960. 2,961. 
| 10¢. 10¢. 10e. 10e. 10¢c. 
} 
. JE eg SSS g 
Se a —, 
ig, 4 SaaS 
‘ 2,963. 2,967. 2,968. 2,969 
10c. 10e. 10¢. 10¢. 10c. 10¢. 10¢. 
0 Koy 
5 | i? 
1 f o> Z6\ 
| 2,970. 2,971. 2.972. 2,973. DOT, 2,976. ZO ts 2,980. 
| 10¢. 10¢. 10¢. 10ce. 10c. 10¢. 10¢. 10c¢. 
Sue)S 2 <> > Ais (hy 6s ‘a 
2,981. 2,982. 2,983. 2,984. 2,985. 2,986. 2,989. 
10¢. 10c¢. 10¢. 10¢. 10¢. 10c. | 10c. 
y) iE Silt 
/ S Cy EX QD CB) S58 
OO) oe ZB sd ] 
2,990. 2,991. 2,992. 2,993. 2,994. 2,995. 2,996. 2,997. 2,998. 
10¢. 10¢. 10¢. 10¢, 10e. 10¢. 10¢. 10¢. 10¢e. 


<<  / 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
i 327 


Ae eae 


n ti tight frit 


ae? 


S22 4 " . 2 
ee a 


ELECTROTYPED ORNAMENTS. 


Price, $0.50 each. Size, 4 by 4 Pica ems. 


2,502. 


Aye 


Rhode Island. 


United States. Maine. New Hampshire. Vermont. 
2,508. 2,509. 


2,506. 


Connecticut. New-York. Delaware. 


Tennessee. 


North Carolina. South Carolina. 


2,520. 2,523. 


Louisiana. 


Florida. Alabama. 


2,526. 


Indiana. Tilinois. Missouri. Arkansas. 


Ohio. 


2,530. 


——— Fn - 
QctER PER Rape 


ttn 


Colorado. 


Kansas. Nebraska. Wisconsin. Minnesota. 


2,536. 


la lif. Nic 
California. Oregon. Nevada. 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHampBers-Strret, NEW-YORK. 


328 


ELECTROTYPED ORNAMENTS. 


Price, $0.50 each. Size, 4 by 4 Pica ems. 


2,603. 


City of New-York. Canada, East and West. Nova Scotia. Newfoundland. 


2,608. 2,610. 


ce 
aT ae 


Honduras. San Salvador. 


2,616. 


Venezuela. 


2,621, 2,622. 2,623. 


SAS. 
EPUBLICs DEL PI ARDCUAY 


Paraguay. 


CS 


Brazil. 


Great Britain and Ireland. Sweden and Norway. 


Prussia. Denmark. Wurtemburg. 


2,66010. 2,663. 


Spain. Portugal. Switzerland. Italy. 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
329 : 


= oe coer or. a | 


vo ine 


T Wite eae Ae Lg ye eo 


ELECTROTYPED ORNAMENTS. 


All justifying with Pica. 


3,303. $0.30. 


3,304. $0.30. 3,305. $0.30. 3,306. $0.30. 


3,308. $0.30. 3,309. $0.30. 3,310. $0.30. 


aS 


SE ary 
J 7 


SD 


3,312. 


3,327. $0.30. 


3,333. $0.35. 


> 


oa jim $o.35. 3,337. $0.35. 3,388, fogs. 
_——— sé 1) S802 She DOO 
NO” Sz = Ge E 
= — 2 ) — = : = = E 
ie ; ae OSM SSS SEEZ = 66 9S : 


ELECTROTYPED ORNAMENTS. 


All justifying with Pica. 


| 3,344, $0.35. 3,345. $0.35. 3,346. $0.35. 3,347. $0.35. 


3,353. $0.35. 3,355. $o.35. 
ip) v 1 His tn ihe it Hr i *¢ i ae “ae cy gin Ae nae 
a aye) La ae b UP ub rl NE Sy ) Mi | hat Ti es. 


liye il ae Nar eS) 


3,361. $0.35. 


OS y) 
£20060 


SS 
‘ Grails 


Sete iN f it 2)! 
oS. y 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


ELECTROTYPED AND TYPE-METAL ORNAMENTS. 


22 £ & Hm 


an oGs 8. 8c. 9. 8c: 10. 8c. tal iekes 


14. 8c 15. 8c 16 19. rec. 2 


fut | 
54. 8c y 


. Be. 149. 8c. 28. 18c. ve 


on sf 


mi 


<M >o 
Sell 
[5] 
uu 1 ag 


33. 8c, 3A. 8c. 35. 8c. 


ht fh 


Lab) 


39. 8c. 


>. TSG: 47. 8c. 48. 8c. 49. 8c. 50. 8c: 81. 8c. 82. 8c. 83h 120 84. rac. 85. 8c. 86. r2¢. 


88. rec. 89. 8c. 90. 8c 91. 8c: 


BD D 


101. 18c. 102. 8c. LULL TZ 18e. 103. 8c. LOG. 8e5 07; 8c.) fLO8s se: 


{ ai 


Go: 


125. 8c. 135. 8c. 136. 15c. UST een 


me DEX S& ® 


= _ 
1,500. x2c. 1,501.8c. 1,502. 8c. 1,508. 8c. 1,504. zac. 1,505. rac. 1,506. 12c. 1,507. 8c. 


1,508. ree. 


AN — OR rar 
{Si geo SS HATO 
12. 


I2c. Alera)! easy iver 1,514. 18c. 


LON | alas ins 


@oENTists— 


1,521. 25c. 


1,518. 25c. 


(el) “Ae 
Noe eae 


? (EXHIB Sie 
@!ssorurion) ey Ton 


1,525. 25c. 1,526. asc. 1,527. 25c. 


1,528. asc. 1,529. 25¢. 


Cc ab eS ~20 Ke St Ce 


1,662. 4c. 1,663. 4c. 1,664. 5c. 1,665. sc. 1,666. 8c. 1,667. 8c. 1,668. 8c. 


GEORGE BRUCE’S SON & CO., Typr-Founprers, No. 13 CHampers-StREET, NEW-YORK. 
332 


SS AQ) 


1,675. 30c. 


~ 


ocak 
Gass 


Rei i & 


Oemzc. 1,691. 12c. 1,692. 12c. 1,693. r2c. 1,694. 12c. 1,695. rac. 


A 


129. asc. 


Uy 


L4((( (i 
\ ! 


0. 2c. 160. 


ace 


Mxeomse & A © + we 


Hague, 1,839. 8c. 1,840. 8. 1,841. 8. 1,842. 8. 1,843. 8. 1,844. 8c. 1,845. 8c. 1,846. 8c. 1,847. 8c. 
id & 


1,849. 8c. 1,850. 30c. 


f 


oi ; == eee 
1,858. 30c. 1,859. 30c. 


= 


WY 


22 
HS 


4 176. 30c. 1,860. 25c. SG is asc 


878. 45c. 1,879. 30c. 


GEORGE BRUCE’S SON & CO., TypE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


7 s He) "XS, i 


oe ee) ae ar 
faa ae 


iD © ra 


¢ te <n ace 


i 7. 
wes 


| | 


1,820. 18c. 1,821. 18c. 


AQHA 


UCU ere 


fi 
i 


TT 


FE 


HAA 
) 


ix 
i 


Ate 


280. 30c. 1 


ix ) \ 


316. 45c. 


NEW-YORK., 


Te fk tet a, is, Pee eS ee oa 


ELECTROTYPED AND TYPE-METAL ORNAMENTS. 


3,425. rec. 3,426. rec. 


3,433. 186) 


145. 18c. 


GEORGE BRUCE’S SON & CO., Typr-FounprErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 
335 


! 
; ne i i aes Cans a fd 
Saw ee Oe 


pit OL AERIS eo th ania 
x F be a Ps eos 


suntieaetts \aridal 


r fe. 4 . 
a 


q 
ATC ret 
* 7 ? 


‘ 
ai yaw 
a 


\ a 
ELECTROTYPED ORNAMENTS. 
‘ 7 | 
Price, $0.50 each. Size, 6 by 8 Pica ems. | 
3,500. Agriculture. 3,501. Agricultural Implts. 3,502. Apothecary. 3,503. Artificial Flowers. 3,504. Auctioneer. | 


3,506. Billiards. 


Baker. 


B, OOD. 


3,511. Bookstore. 


3,516. Bric-a-brac. 3,517. Brush-dealer. 


ce 


su il 
eo 


?— —— 


PAA 


3,520. Carpets. 3,521. Carriages & Wagons. 


i ay 


3,527. Comb-dealer. 


AER 
Za \ vi < a 
NY \\ ERT. 
| 
\ 


3,530. Copper-smith. 3,531. Cutler. 3,532. Dairy. 


i, 
ly 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 
336 


ELECTROTYPED ORNAMENTS. 


f Price, $0.50 each. Size, 6 by 8 Pica ems. 


3,535. Dress-maker. 3,536. Dry Goods. 3,538. Farmer. 3,539. Fish-dealer. 


3,548. Grocer. 3,549. Gunsmith. 
<a”) 


Fieg 
i 


3,547. 


Glover. 


————— 


3,553. Harness-dealer. 3,554. Hatter. 


3,552. Hardware. 


3,561. Lager-Beer. 3,562. Lamps and Oil. 


3,568. Lumber-dealer. 3,569. Machinist. 


GEORGE BRUCE’S SON & CO., TypE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
337 


ae 


ohare ars 
ye ’ 


AWE CAES? 


ay na 
v 


le ‘\ agri y merin 


we ‘% 
ria | 


+ 


ELECTROTYPED ORNAMENTS. 


Price, $0.50 each. Size, 6 by 8 Pica ems. 


3,574. Military Goods. 


3,571. Mason. 3,573. Milinery, 


3,576. Musical Instruments. 


3,580. Optician. 


3.582. Painter. (House) 3,583. Painter. (Sign) 3,584. Paper-hanger. 


3.585. Patriotic. 3,586. Pawnbroker. 3,588. Photographer. 3,589. Piano-dealer. aH 


i Hy 


1 


3,598. Printer. (Compositor) 


3,590. Pickles & Preserves. 3,591. Picture-Frames. 3,592. Plumber. 


8,595. Race. (Boat) 3,596. Race. (Horse) 3,597. Race. (Yacht) 


Say 
3,600. Sashes, Blinds & Doors. 3,601. Seale-maker. 3,602. Schooner. 3,603. Segar-dealer. 3,604. Sewing-Machines. 


ei: 
1a 


GEORGE BRUCE’S SON & CO., Typx-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK, 
338 


WD 


. ELECTROTYPED ORNAMENTS. 
Price, $0.50 each. Size, 6 by 8 Pica ems. 
8,605. Shell-fish Dealer. 3,606. Ship-builder. 3,607. Ship-chandler. 83,608. Ship. (Clipper) 3,609. Shipping. (Freight) 


3,610. Shoe-makers’ Findings. 3,612. Sloop. 3,613. Soap and Candles. 3,614. Soda-water. 


By: 


3,616. Steam-boat. 3,618. Steam-ship. 3,619. Steam-ship. 


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3,621. Surgical Instruments. 3,622. Tailor. 3,624. Theatrical. 


3,626. Tobacconist. 3,627. Toy-dealer. 3,628. Trunks. 3.629. Umbrella-dealer. 


TIN 


3,631. Upholsterer. 


3,638. Wooden-ware. 8,639. Yankee Notions. 


3,636. Willow-ware. 


3,635. Wine-dealer. 


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GEORGE BRUCE’S SON & CO., TyPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


339 


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$e) Sabod y:  widipcadle studi te aadth, phi ieee 
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2,702. 


Apothecary. 


9,701. 


> 
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Agricultural Implements. 


2,700. 
Agriculture. 


GEORGE 


ELECTROTYPED ORNAMENTS. 


Price, $1.00 each. Size, 8 by 12 Pica ems. 


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4 BRUCEH’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 
340 


Butcher. 


Brush-dealer. : 


Carpenter. 


ELECTROTYPED ORNAMENTS. 


4 4 
Price, $1.00 each. Size, 8 by 12 Pica ems. 
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GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
341 


” fepere he Cae ee 
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ELECTROTYPED ORNAMENTS. 


Price, $1.00 each. Size, 8 by 12 Pica ems. 


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43 oa : Fe 
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Gentlemen’s Furnishing. 


Hair--dresser. 


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GEORGE BRUCE’S SON & CO., TypE-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK, 
342 


ELECTROTYPED ORNAMENTS. 


Price, $1.00 each. Size, 8 by 12 Pica ems. 


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GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, 
343 | 


2,760. 


NEW-YORK, 


Millinery. 


Military Goods. 


Mason. 


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Price, $1.00 each. Size, 8 by 12 Pica ems. 


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GEORGE BRUCE’S SON & CO. Typr-FounprErs, No. 13 CHAMBERS-STREET, NEW-YORK. 
344 


ELECTROTYPED ORNAMENTS. 


Price, $1.00 each. Size, 8 by 12 Pica ems. 


Z it 


Y L, Yy 


(Horse) 


2,783. 


Plumber. 
Saddlery. 


Race. 


Sewing-Machine. 


ZA 
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GEORGE BRUCE’S SON & CO., Typre-FounpErRS, No. 13 CHAMBERS-STREET, NEW-YORK. 
345 


ELECTROTYPED ORNAMENTS. 


3 A ‘ 
5 As Bp gi by g 
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GEORGE BRUCH’S SON & CO,, Typn-FounpErs, No. 13 Cuampers-Srreer, NEW-YORK. 
346 


ELECTROTYPED ORNAMENTS. 


Price, $1.00 each. Size, 8 by 12 Pica ems. 


Trunks. 
2,819, 
Yankee Notions. 


Wine and Beer ( 


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GEORGE BRUCE’S SON & CO., Typr-FouNnpERs, No, 13 CHAMBERS-STREET, NEW-YORK. 
347 


nfs Pim oS we 


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Fs = « 


ao ps tani 


ELECTROTYPED ORNAMENTS. 


$1.25. 
$1.25. 
$1.25. 


ret 


Ss SS 
SSS 
ZX 


SEES 


C 


SN 


B= 


Dry Goods. 


Oil and Lamp Dealer. 
Kitchen-furnishing. 


2,106. 
2,109. 


2,103. 


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$1.25. 


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ANSSUUTDAUAUMNYTQOQVTUADVAQUUTS AGH ENS} 10 


Grocery. 


Toys and Confectionery. 


2,104. 
2,107. 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHamBers-STREET, NEW-YORK. 
348 


ELECTROTYPED ORNAMENTS. 


ull 


Ss. 


School-Book 


ONAR: ay = 


Bookstore. 


$1.25. 


Stationery. 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHaMBERS-STREET, NEW-YORK. 
349 


ADIN 


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ELECTROTYPED ORNAMENTS. 


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2,132. 


2,126. 


$1.25. 


$1.25. 


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Lumber-Yard. 
Saddlery. 


Way UC 
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GEORGE BRUCH’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 
350 


ELECTROTYPED. ORNAMENTS. 


$1.25. 


Brush-maker. 
Marble-works. 


2 


2,139. 
2,142. 


x 


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$0.90. 
$0.90. 


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$1.25. 
$1.25. 


Plumber. 


Tobacco and Segars. 


Agricultural Tmplements. 


2,140. 


145. 


N 


Photographs. $0.90. 


2,144. 


$1.25. 


Picture-frames. 


2,143. 


2 


<_ aaa = 


Die 


Photographs. $r. 


2,148. 


«€ 
a 


$0.90. 


Miller. 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


351 


2,147. 


$1.25. 


Carpeting. 


2,146. 


a, Lf aay 


Re 


ARE Ht GUM UIE 


[es Ub 
ae 


ELECTROTYPED ORNAMENTS. : 


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GEORGE BRUCE’S SON & CO., Typn-FounpERs, No. 13 _CHAMBERS-STREET, NEW-YORK, 
352 


Se AF S jie me hin N so ME TE 
: Snr sii GOENTRE 2 


Ge Stash pc ST eee 7 
A Age TSA, emer 
a rae Sars per ene e se : 5 ~ sey ee Sr ios ipes Slang ete e “ 2 
pets ean a PERE NS peers acres ALANS N= Seer On 
; ies, poe Ta sie hoe ees piss ota ER ale Sehccen Zi amine awake 
é - ie tg oR as nha TP SEES 
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THE 


A Collection of facts and Opinions 


DESCRIPTIVE OF 


EARLY PRINTS AND PLAYING CARDS, 
; THE BLOCK-BOOKS OF THE FIFTEENTH CENTURY, 
‘THE LEGEND OF LOURENS JANSZOON COSTER, OF HAARLEM, 
. AND THE WORK OF JOHN GUTENBERG 

AND HIS ASSOCIATES. 


EMustratcys 


WITH FAC-SIMILES OF EARLY TYPES AND WOOD-CUTS. 


BY 


THEO. L. DE VINNE. 


* * Hereby tongues are knofone, hnotoledge grofweth, judgment 
enctenseth, books are dispersed, the Scripture is seene, the doctors 
be revd, stories be opencd, times compared, truth discerned, 
falshood detected, und foith finger pointed, and all, as J said, 
through the benefit of Printing. Fox's Acts and Monuments. 


NEW-YORK: 


EORGE BRUCE’S SON & CO., TYPE-FOUNDERS, NO. 13 CHAMBERS-STREET. 
= Weer 


7 . : : : ; a @ ott : : 
Si ee er 


ol 
* 


| URAL 2 YT MRD a, Oy OR ANON GAIT 


5S su wie | 


> 
os | 


4 
eri Come A 
Pa 


a0 Moan? 


os} % 
ett) a py 


‘one maT es | 


. as Ae epire 
a 


. Misa ks PRIMER! oi? " 4 i P ; f 1} J iS aAs ALi 
% 7 ; . te: A iy Lar , 
Mette AITKIN 4 ' us a Ain Wii PE OTERRATAAS “eu Pag! 
' To Poosaey oY “Me (hs : Lote Hveh Ln’s PROD yA athé 
_" Sse bed '¥ os A : “* 6! 7 Ww yh ae ¢ AO AUR A ak _ ny ; he 44 
Ber epee) BmA EOS Ur ; i } thal) bv wa ee rata oe ty, hes 


Pa Nia? ri ak, als) Wik 
ihn bee RAE AM IAS 


| ay sim * ; A : wal Liou 
ithe ee jia Panty hh 


ml hipped (mil) ase ibe So 


Lai) as (nevis ; a! « iota ihe *+.'h a) 
Tee, Ac Petyed ey: MTS fetid 


o,f ayes vonews ano4d ye 


b = = ue ‘ai Pak fh aia a ake ey aa wl 
. 


WINKNOWA DRTIN LE Ree one ere een , ---+ 97 


ENTERED ACCORDING TO ACT OF CONGRESS, IN THE YEAR 1878, BY GEORGE BRUCE’S SON & CO., IN THE OFFICE OF THE LIBRARIAN OF CONGRESS AT WASHINGTON. 


GEORGE BRUCE’S SON & CO., Typr-FounprErs, No. 13 CuamBers-Srrert, NEW-YORK. 


a are 


2 
INDEX” 10) SPECIMENS =O mye 
(GREATEPRIMER > cone cee Ge eerie a eee eer 3 to 6 BREVIER 
GO@LUMBUAN bese cate se ocelot eee a eee a 7 MINION 
TENG@LISHDs te oe oe bees eee ee oe arias eerie iro 8 to 10 NONPAREIL 
PO Ne eos coe omea accede Sa coR Biba 11 to 21, and 152 INORG go BAP oe aoa ssec HouopeSecsenScassosnsoc 
SIMONE ONG oc on esne se oea eras Grocegeocos 22 to 35, and 153 PRARD oc sok Secs cetera eee ete tale ee ail 
WON G2PRIME Resear sere eit 36 to 49, and 154 to 156 DIAMOND 
BO WIRIGE O19 a eye ee ete ee er 50 to 61, and 157 to 159 
CONd Enis: 
PREWACE Coy occ ceo ~ ste eee eee 3 XVI ...THE PERIOD IN WHICH THE SPECULUM +i 
WAS PRINTED --=-- Fe eS a 
I 63.4,48 THE DIFFERENT METHODS OF PRINTING ------- 8 ‘ 
XVII ..THE LEGEND OF LOURENS JANSZOON COSTER-. ITC 
(ft daa tare. ANTIQUE METHODS OF IMPRESSION AND ' a 
THERE! WA TICUIR IE ee eee eee et eS XVII .THE GROWTH OF THE LEGEND --------------- I 
Ws oom THE KEY TO THE INVENTION OF TYPOGRAPHY.- 25 XIX ...THE DOWNFALL OF THE LEGEND ..-.-.--------- £ 
Wize =. THE IMAGE PRINTS OF THE FIFTEENTH CENTURY 33 XX...-JOHN GUTENBERG AT STRASBURG ------------ 121 
Vie PRINTED AND STENCILED PLAYING CARDS...--- 4 XXI...GUTENBERG AND HIS EARLIER WORK a Pp . 
DIORA 45 OSE Ne po taro Ona aca S 5 a 
WES ees THE CHINESE METHOD OF PRINTING ---------- 48 ; 
XXII .. THE LATER WORK OF GUTENBERG ----------- 1 
VIIl....-THE EARLY PRINTING OF ITALY-.------------- 52 
XXIII .THE WoRK OF PETER SCH@FFER AND 
VII ... THE INTRODUCTION OF PAPER IN EUROPE ..--- 56 JOuNAF OST oh ee eee 
Poe THE BOOK-MAKERS OF THE MIDDLE AGES .---- 60 XXIV ALLEGED INVENTORS OF PRINTING --.-------- 1 
Xe THE PREPARATIONS FOR PRINTING ------------ 67 XXV ..THE SPREAD OF PRINTING -..---------+ one 1 
Mies cs BLOCK-BOOKS OF IMAGES WITHOUT TEXT ------ 72 XXVI .THE Toots AND USAGES F 
XII ...-BLOCK-BOOKS OF IMAGES WITH TEXT..-.--..-- 81 FIRST PRINTERS .---------------- : 
XIII ... THE Donatus, OR Boy’s LATIN GRAMMAR ..-. 89 ADDITIONAL NOTES AND CORRECTIONS ---=- 
XIV ...THE SPECULUM SALUTIS, OR MIRROR oo oe APPENDIX... 2-2 = ce - eco cnc ---- 22+ -3 ++ on 
SALVATION cf gee hee te a AUTHORITIES CONSULTED 222-1 =e etme o> Ae | 
XV ....THE WORKS AND WORKMANSHIP OF AN inpeeee ee eee “ = 


' 


GREAT-PRIMER, No. 1. 3 


PREFACE. 


THE Invention of Printing has alwa ays been recognized by educated men as 


a subiect of importance: Since iS no Mechanical art, nor are there any of 
ir 


the fine arts, about whose early history so many books have been written. 
The subject is as mysterious as it is inviting. ‘There is an unusual degree 
of obscurity about the origin of the first printed books and the lives and 
works of the early printers. ‘There are records and traditions which cannot 
he reconciled of at least three distinct inventions of printing. Its early 
history is entangled with a controversy about rival inventors which has 
lasted for more than three centuries, and is not yet fully determined. In 
the management of this controversy, a subject intrmsically attractive has 
been made repulsive. The history of the invention of printing has been 
written to please national pride. German authors assert the claims of 
| Gutenberg, and discredit traditions about Coster. Dutch authors insist on 
the priority of Coster, and charge Gutenberg with stealing the invention. 
Partisans on each side say that hair opponents have perverted the records 
and suppressed the truth. The quarrel has spread. English and French 
authors, who had no national prejudices to gratify, and who should have 
considered the question without passion, have wrangled over the subject with 
all the bitterness of Germans or Hollanders. In this, as in other quarrels, 
there are amusing features, but to the general reader the controversy seems 
unfortunate and is certainly wearisome. It is a greater misfortune that all 
the early chronicles of printing were written in a dead language. Wolf’s 
@llection of Typographic Monuments, which includes ae every paper 
of value written before 1740, is in Latin; the valuable books of Meerman, 
“Maittaire and Schoepflin, are also in Latin. 'To the general reader these 
are sealed books: to the student, who seeks exact knowledge of the methods 
of the first printers, they are tiresome books. Written for the information 
of librarians rather than of printers, it is but proper that these books should 
devote the largest space to a review of the controversy or to a description 
of early editions; but it is strange that they should so imperfectly describe 
the construction and appearance of early types and the usages of the early 
printers. The mechanical features of typography were, apparently, neglected 
as of little importance, and beneath the dignity of history. A failure to 


‘present accurate illustrations of early printing is not the fault of modern 


GEORGE BRUCE’S SON & CO., Typn-FounprERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


SOLID. 


WITH 4 TO PICA LEADS. 


 & 


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PREFACE. 

authorities. Many of them are full of fac-similes bearing the marks of 
minute and conscientious care; but they are in foreign languages, and 
are seldom found in our largest AMERICAN libraries. There are, it is true, 
a few books in English on early printing which have accurate fac-similes ; 
but high prices and limited editions put them out of the reach of the 
ordinary book-buyer. They were written by and for librarians only. 
Valuable as all these books are, they disappoint the printer. Some of 
them, though presenting fac-similes in profusion, are not accompanied 
with proper explanations in the text: others are devoted to one branch 
only of early printing, such as block-books, or the printed work of one 
nation only. Two of them are untrustworthy as authorities. Neither from _ 
one book, nor from all the books, can a printer get a clear description — 
of the mechanical development of typography. This incompleteness was 

frankly acknowledged by Dr. Dibdin, when he said that there was no 

work in the English language which deserved to be considered as a 

complete general history of printing. This was an old complaint. Nearly 

a hundred years before, Prosper Marchand had said that the history of 

printing, voluminous as it then seemed, was but history in fragments. _ 
The first attempt to supply this great deficiency was made by August 

Bernard, in the disquisition published at Paris, in the year 1853, under 

the title, De lorigine et des debuts de Vimprimerie en Europe. His was the 

first book in which the printed work attributed to Coster and Gutenberg 

was critically examined from a typographic point of view. To readers 
who were not content with the vague descriptions of popular books of 2 
typography, the explanations of Bernard were of peculiar value. | had ¢- 
reason to think that a translation of the history of this eminent printer ¢ | 
would be received by American printers with some measure of the favor : 
which the original had met with in Europe. Impressed with this belief, a 
I began the work. I found it necessary to consult many of Bernard's E | 
authorities. My admiration of the superior method and forcible style | 
of Bernard, an admiration still unabated, was increased by the reading 
of the new books; but the esteem in which [ hold his valuable work does 
not prevent the regret that, in his entire neglect of the block-books, he 
should have overlooked the most significant feature of early printing. 


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GEORGE BRUCE’S SON. & CO., Typx-FounpErs, No. 13 CHamMBErs-STREET, NEW-YORK. 


. GRBEAT-PRIMER, No. 16. 5 


PREFACE. 


The fac-similes of early prints, subsequently shown in The Infancy of Book 
Printing of Weigel and in The Typographic Monuments of Holtrop, convinced 
me that the Perliost practice of typography had its beginning in a still earlier 
practice of printing from blocks, and that a description of block-books should 
precede a description of the invention of types. Since these books were written, 
all the old theories about the origin of typography have been examined with 
increased inter est, and discussed an superior critical ability, by many eminent 
European scholars. Discoveries of great importance have been made; old facts 
have been set forth in new lights; Seon accepted as truthful history for 
three hundred years have been demolished. Of the many able men who have 
been engaged in this task of separating truth from fiction, no one has done 
more efficient service than Dr. A. Van per Linpe of The Hague, whose papers 
on the traditions of typog raphy are masterpieces of acute and scholar ly criticism. 
His researches and reasoning convinced me that it would be unwise to offer a 

translation of any previously published book as a fair exponent of modern 
knowledge about early typography. The newly discovered facts were opposed 
to early teachings ; there could be no sewing of the new cloth on the old 
yarment. I was led away from my first purpose of translation, and, almost 


inconsciously, began to collect the materials for the present volume. — Until 
ecently, the invention of printing has been regarded as a subject belonging 


ilmost entirely to bibliographers. The opinions of type-founders and printers 

vho had examined old books have been set aside as of no value, whenever they 
vere opposed to favorite theories or legends. This partial treatment of the 
subject is no longer approved: a new school of criticism invites experts to 
xamine the books, and pays respect to their conclusions. It claims that the 
nternal evidences of old books are of higher authority than legends, and that 
hese evidences are conclusive, not to be ignored nor accommodated to the state- 
nents of the early chroniclers. European critics do not hesitate to say that the 


confusing and contradictory descriptions of the origin of printing are largely 


lue to the improper deference heretofore paid to the statements of men who 
ried to describe processes which they did not understand. ‘They say, also, that 
00 little attention has been paid to the types and mechanics of early printing. 
Jriticisms of this character led me to indulge the hope that I might find 
leanings of value in the old field, and that it would be practicable to present 


GEORGE BRUCE’S SON & CO., Typn-Founprrs, No. 13 CHamBers-StreetT, NEW-YORK. 


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RGlwa eV ley, 


them, with the newly discovered facts, in a form which might be acceptable | 
to the printer and the general reader. In this belief, and for this purpose, | 
this book was written. I would not have begun this work, if I had not 
felt assured that a thorough revision of the subject was needed. The books 
and papers on typography which are most popular, and are still accepted | 
as authoritative by the ordinary reader, repeat legends which have recently | 
been proved untrue; they narrate, as established facts of history, methods | 
of printing which are not only incorrect but impossible. It is time that them 
results of the more recent researches should be published in the EncGrisH¢ 
language. But I offer them only as the compiler of accredited facts: | havens 
no original discoveries to announce, no speculative theories to uphold. Nor | 
shall I invade the proper field of librarians and bibliographers. I propose | 
to describe old types, prints and books as they are seen by a printer, and — 
with reference to the needs of printers and the general reader, avoiding as_ 
far as I can, all controversies about matters which are of interest to book- 
collectors only. The historical part of the record will be devoted chiefly to } 
the printed work of the first half of the fifteenth century. It will degm | 


with descriptions of the earliest forms of printing, as shown in image prints, _ 
playing cards and block-books ; it will exd with the establishment of typog- 
raphy in Germany.— Believing that a verbal description of old books and 
prints, without pictorial illustrations, would be unsatisfactory, I have pro-_ 
vided many fac-similes of early printing. No part of this work will more — 
fully repay examination than its illustrations, which have been carefully | 
selected from approved authorities, or from originals. Reproduced by the, 


< 


TRAN 


new process of photo-engraving, they are accurate copies of the originals, 
even when of reduced size. As they are printed with the descriptive text 
by the same method of typographic presswork, it is believed that they will © 
more clearly illustrate the subject than lithographed fac-similes on strag- - 
gling leaves. —In trying to make plain whatever may be obscure about the : 
mechanics of printing, I have thought proper to begin the explanation with» 
a description of its different methods. An introduction of this nature 1s not — 
an unwarrantable digression. It is important that the reader should have | 
an understanding of the radical differences between typography and xylog- 


raphy on the one side, and lithographic and copper-plate printing on the 


mA Din 


| 


GEORGE BRUCE’S SON & CO., Typr-FounpErS, No. 13 CHAMBERS-STREET, NEW-YORK, y 


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WITH 6 TO PICA LEADS. 


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‘ONILNIYG HO SGOHLAT LNaYsaddHIG FHL 


os sou ‘sayejd adAj09.19}s otydersodAy se Ajdeayo 


Street, NEW-YORK. 


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GEORGE BRUCE’S SON & CO., Typn-Founprrs, No. 13 CHAMBERS 


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GEORGE BRUGE’S SON & CO., Typn-Founpers, No. 13 CHAMBERS-STRI 


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pur ‘rejyovreyo Tove JO souspusdeput oq} FO JVyy ST 


‘ONILNIUG JO SGOHLA INauadaId SHY, 


rs, No. 13 CHampers-Srrerr, NEW-YORK. 


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jo dpoy oy} oAto00r 09 poqyy aoyjoq ‘AT}yUONbosTIOD 
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dTyAdBLsoyyl] UL UOISSoIdUM SSey pooul puw ‘Yur [ITM 
poyeoo Appomb aout ore sod4 ro soqvyd yJorpor sy 
"LIS OF aUO JO 


WITH 6 TO PICA LEADS. 


SOLID. 


| Ara , eo ee 
a = 


potedutos se sodA} Jo WOTSsotdU 0} ddURYSTSAL OTL, 
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‘oreo oo WADIA postural PLeAtEn pue ‘oou 


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YORK. 
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-Founpers, No, 13 CHAMBERS-STREET, 


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N & CO., TyPy 


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GE BRUCE’S SO 


GEOR 


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Slee A S4 . et aa ai ee 


Pica, No. 18. 


14 


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sossoooid [BoLUVYooUt oY} UL syuotadopoAop «0 syUOUT 
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oY} 01 SV ‘TOADMOY “UTOOLSVSTP OU STOO, “S1voA 
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Ay JO pottod v ULyYLM podoypoaop 10 poyWOATT 940M 
peeve otoy suutid Jo spoyjour moj oy} Jo vo1q 7, 
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-pisuoo [nyoodsoe.1 soAtosop AToIwq pue ‘ATeyT puosG 
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jo WONUOATL UB Jo pose, oy T, oD SUIAT] 
Aue oavy ‘oyoypog puvw Sloquopmy ‘19ys0K9 ‘preyseo 


‘ONTINIUG JO SGOHLAY INGUGAaIG WH, 


Q 
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TO PICA LEAD 


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o 


WITH 


- poavssue 


SOLID. 


ST Jolfor Ur gnine Suryew 


Eorqdessodey” SV pougep MOU 
oie sodéy uot poyutad sx00q 
:ytoM poqutd Apres ysmsuy -us 10 s1ojgutd Aq posh 99417 
“SIP 0} saoydeasorqrq Aq posn st AYderso[Ax palOM OU, + 


‘sod A} JO SLOJWOATE PoSoT[V oy} JO Moz ynq : pozowsy 
-U00 ATJVLI Mo9G OAVT, AS1OAOIZWOD OY} JO SPUATT OPT, 
THO} MOTADL OF ATBSSoooUUN ST yt yeVy possoaddns 
AyToyoTduL0o OS Wooq oAVTY SuOTSMOJoOId YSTPOO, o10UL 
oy} puv ‘pouruexe AT]NF woog oavy JYUBUTTBTO YoRs 
JO IOAYJ UT SeOMOPIAS OUT, eeedics ‘A 9p sthory pue 
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OM} OY} JO soovzins Suyutd oyg, “AydersodAz uo0az 
AydersoypAx soyerudos YOM aIyVay JVILS OT[} ST YOOT 
oy} WO USISep oY} JO ssoupoxy oy, “Yoo oy} wo 
POXY, ST SUIARLSUS 94} Sosvo T[v UL rod, ‘sornjgord pu 
SL9}JOT POG Jo to ‘ATUO sorngord Fo ‘ATWO s.to}JOT FO 


“ONTENTY Y FO SGOHLAY, INGUHHATG, AAT 


JO JAB OT] TOTM YT ‘St)OAeIs 


GEORGE BRUCE’S SON & CO., TyPn-FounpErs, No. 13 CHAMBERS-STREET, NE 
y 


a 


W-YORK. 


15 


IGA NO Ls 


eq} JO worptsod onbipqo oy} Aq woos st ‘yoorq orydeas 
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MOU JOUUBS YOLTA TILYS B yQLa ‘oydood outros Aq ‘pus 


[presuey uro.7] 


‘uoTAqug jo summy oy} Woy youg pedurvye y 


fO SCOHLA, GAOLINY — 


aq 
Do. 


WITH 6 TO PICA LEAD 


SOLID. 


‘ose sivod puvsnoy} voy} UvYy oLouL postyoRid useq - 


suravy ‘Aymbyue yeots Jo st ‘speos pue sutoo Suryvur 
jo osodind oy} oy ‘xBM puB [BOUL UO SULIOZ poavas 
-ue jo uorsordun oy, ‘“sututid yo poyjour A1dAo 
UL ssovoad JsilE OY] SV PoplBSoL oO JSNUT SULABISUAT 
“MOUB 
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JNO oq JL [[LM TON ‘8058 o[PPIUL oY} JO s1oyeUI-yooq 
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pu spuvig oy, sduregg uvuLoy *** S109 J07T JO SUOTPVUTGMLOD JnoGe soLLoeT,T, 
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WaOTIVA Fat GNV 
NOISSUUdGNWI JO SGOHLANW ANOLINV 


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‘Q10IM T SJOTGR} JO WOTeT[OO oY} UI 
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‘eukssy jo Sjo[qe} plo puw syueur 
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oy} Soury ywortd oyy ‘[edruvqissy 

: OPBUL OIOM SuOIssorduMt OTT} 
yoy sof osodmd ouo Jo vepr ue 
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‘sny} ‘poyvjsuey uoeq sey dureys oy} wo woNdLIMOsUL OU, 
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uo dures oy} wos uoye} uorssordu we yey} Os “poor 
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yue}xe UB TONS OF 
you ynq “surdureys 
jo poyjour oures 
ayy Aq possearduat 


o1oMm syouq YdAsy pro uy ‘uorsseaduar yy 
pue prwajno poosoy sv 4 ator ‘opis oy} Uo AV oY 
jo dn Sursynq oy} ut ‘qydop urrojrun sy pue Surav.oue 


ayy jo Ayoort oyy ur ,Pourq oy} uo uoNdttosut erenbs 


‘NOISSHUANT AO SCOHLA, ANOILNY 


Aq preadn 


ADS. 


TO PICA LE 


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YPLIg ay UO WOIssoAduy at} JO opLUMIs-deT 


‘NOISSUUdMNT JO SGOHLAYY AAOILNY 


rs-STREET, NEW-YORK. 


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BRUCE’S SON & CO., Typn-Founpers, No. 13 Cuamsi 


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GEORGI 


Pica, No. 16. 


U9eq IAB OF SUIOES TPOTYAM Ae your ue jo «o}renb 
B qnoqe ‘oul, SuLS~Nq pue posdovi vB ST 9dUOTOFUIND.ALD 
seoIvy] sit punory ‘poyeyta Aypeysed st yt yey} oovu 
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SOYOUL WAS ST TOMA StapuIpAd STILT, 
poatesqo woeq Avy, 
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SUIARLOUO UB IO OIp B 
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sv paooer ve jo AyTuo Adoo ouo udoyA ‘Av~D oy} UO 
yO IO USPLIM SVX UOYCLOSUT OY} YVY} OUTNSSe 0} OTqQL 
-UOSBOIUN JOU ST JI yng ‘AVP UO SUQLIM IO SULARLOUO 
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iO SdGOHL TJ ANOLLN 


WITH 6 TO PICA LEADS. 


SOLID. 


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I9}ye ‘AQTTL LOO] Troy} pue ‘QOUILOFOL LOT JUPTUPATOD 9.19.AL 
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uRIMOpAqeg pues ueydrs wy oy, Uo saojoRreyD oY, 
‘SOPTPOVIST OY] FO snpoxe oy} JO ported oy 
ye ydAsy Jo Sury oy} useq oAvy 0} ‘soLIoyyNe oUIOS 


Aq ‘posoddns st ydousury yng fo paaojaq ‘ydouamp 


-Founprrs, No. 13 CHames 


ers-Srrert, NEW-YORK.— 


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_BRUCE’S SON & CO. 


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dIGISIAUL puUB prIfOS jo sequmu 
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pure ‘souryo Aq opeuUL svar pTTOAL 
oY} YY} JUWouMSI [woNsTEyYe SUT 
sesoddo ‘uvemords oy ‘snfotjo A 04 
sutsqdat ur o1oys oy) ‘suqyeg , 


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‘YWniMsIay YUL ‘SIO\oT PoeTqulesse sy} seqLiosop oy 
yor Aq oseryd oy, ~jyoqeydye ay} Jo s10y07 poavrsue 
ey} Jo dn SUIXTUL sSofoIRO B THOT, ddUEJUES 9{qLITTToVUL 
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‘SOSNVI [ROLSOT]L WLOIF S}[MsSet [RoLsoT Jo stseyjodAy oy4 
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SI9}O] POavssusd YOU YLM seo oyy Jo uoydoo1ed reazo 
B prey OYM oULOY JUOLOUR UL WOU OOS a1OM O1OULT, 
‘stapunoj-adA} Jo s1oyjeT [pout 
ey} 10 soyound oy} eyly yeymoutos ‘oouvrvodde ut ‘pue 
‘gTqvaour Useq aavy ysnut yo sry oy poXordura sod Ay 


‘NOISSTUMN]T AO SGOHLAYY ANOILNY 


WITH 5 TO PICA LEADS. 


ast me paonpord - OOM ‘su0n) LIosul 9 ouy 


jo owos ug ‘sedd} ofqeaout jo onyea. omy “pooystapun 
Ay[nNy sroyjod oy, ‘"JOSSoa oy} JO Sju9zWOD oy} YILM .10 
‘STOTMO JO SOTURU OT} TYLA SorpoRINURUL Ley} poy,.reUL 
oy ‘stoyjod urumoy plo ay} Aq postorid sea Avpo Sur 
-ssoidtut toy sdureys SULARISUO JO poyjoul URLLASSW oT, 
‘SULARIOUO MOU 
vB sea oroy} deur mou ATOAO JOF : UOYL} JOU 9.9M SUOTS 
-sordtut oy} ‘Mouy oa se avy os Qng  ‘waye} weeq oavy 
plnoo ‘snitded uo wese- 20 ‘unypea TO SuOIsserdtaL You 
wor ‘srozuttd oyeyd-1eddoo jo poyjeut oyy eye ‘oovzims 
ay} MOTE yoo Sour, PALM ‘soyerd Teo YJOOUIS TO poav.isue 
a10M SURILOTZW oy Jo sdvu oy} Jo ouog “YUL LM SUT 
-yuttd Jo APTLGISvoy oy} poysesons oavy prhoys YOuUpM Jou 
-UVUL B UL Syooty JuoToUR ay} AQ pasn SRA SULARLOUT 
‘ssoujRoIs uBuINy JO 
AVUVA OY} UO SUOTPEPer clay} UL amadsynyg 10 WoUMojlOY 
Aq possedins woeq Joaou sey you ,“oury years ayy ,, Jo 
asteid vB useq oavy ABUT Ye FO voyeoydde aseq STU} UL 
fuoa peonovad v st olay, ‘aypueo Aoyye} oy} peatooor 
spuso oY} JO oUO JO aIJUIVD OY} UI [Oy YW “punoz svar 41 
a1OYM OSLTTLA OY} UL SuTary Ayturey ueMOomy, epquyndoat 


v AQ YOUSeTpUBD BSB JO VSN VpRUL SBA LepUT[AD Poprs-XIS 
oe JF 


UBLLASSY ue yey} sh syje} pavderT ‘poyULSLLO ATqeqoad 4L 
a1oq Ai [LOS 94} UO SOLIMyUeD OAY-AJUAM} URY} 9LOUL OF 
popo[sou wooq sey 4J  ‘esnstp oyUr [Jey ATTenpets Aeypo ur 
sumone jo pV oy UoTTOAOIdtL AUR SULATODOA WOAT Tey 
og ‘opeurt roaou sea yt “eedde Avu Suavasua ay} Jo Uoy 
-voydde sty} sv eydung "yueurpoared uo podureys pue yur 
Y}LM poyeoo useq oavy pynod Av ssordut 0} pasn sear 
yey} Suravisue oy, ‘podopoaop jou sea suyutid ut [pPys 
sty} yey} topuom Avett soyuud wropout oy, “toded to 
YUL FO pre oY} JnoYJLM sosv TOF poarosoid toa SpLoda1 
pue ‘osuodxo qpeus ye poystpqnd odo SsUTLT A,  “}Ue}xE 
autos 0} Lydersod sy UIapout FO YOM oy} prp FL nq ‘\ooy 
-1aduit pure oP sem «vp ul sutuLd Jo poyjout sty, 
‘YJOoUS opeut Teeq 
GALT, P[HOM OUT, OPI possVL oy} pure ‘paysoutto0d wWo9q 
GARY P[NOM SOUT] [ROT}Ioa ay} feTqveoyou oq OU plnoar 
poyep stqy ‘ep oy Wo no ueeq pey uoydiiosut oy} JT 
‘sdureys Surppnout oasy Jo Suyoour yosrodurt ayy Aq oper 


, 


‘NOISSUYdW] AO SACOHLATA GNOLINY 


STREET, 


; 


- 


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‘ a: 8 ae 
as ee 


PNO. sks CHAMBERS~ 


feo 


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Eo 
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GEORGE BRUCE'S SON & CO., TyrE-FOUNDER 
ra ee 


. 10 owWey suteq jou ‘uRMTIOM 10 UeUT “TaAgosoya,, “euy 
ia poyovua sem 4t ‘(EGGT-LFGT) purpsuy jo TA pawapo 
jo user oy} suring ‘Aydeisoddé} jo uoyueaut oy} 
daye Suo, dn ydey sea soyovid yonto oy], ‘Ssuleq 
ueuny 0} uoyroydde syt Jo sn ][o} seqyeys uroedom7y 
Aueut Jo savy plo ey, “epyeo 0} uoyrorydde sy jo sypoy 
‘SOISLOOL) OY} JO YOod p1Lyy ol} Ul “TLBIA “~Surpuerq Fo 
yey} Sv suotwsordtt SuTyRUL JO poyyoUL oJLOary VW 
‘suyuLd jo uttoy peyuourLIadxe sty} Jo 
oy} poyuoaord YoupM sesneo AuRUT JO 9UO 
st ‘apeut oq [[LM ooyou yuonbesqns vB Yor Jo ‘sserq 
jo sdureys osoyy uodn yur jo surxy sedord oy} yu 
poyoutios AyNoULp oy, “UMouyun ode ‘posn oto Lory 
yor ut potted yoexe oy} pure ‘opeur atom Ao OTA 
ioy sosodind yewods oy} ‘suoydiiosut oy} Jo sutuRout 


2 ee 


yuaurdopoaop 


ay} yng ‘AjroyueyynR poyqnopun jo ‘seymbryue uwewioyy 
Sv popalesot ore AVt 
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oe - ‘YUL WLM uorlssordut adueie deuey 
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“a Z TOF opeur oom scores 
ss, e oy yey} posoddns st 
4 pa ‘xem ut surdueys 


- yt 
A lof poy ye ye jou 
are pure ‘yeyur sayy 
| ult yuns ATYsnor 9.1e 
S19}}2T OY} SW 
Uy ysQugq oy} ul 
yday MOU STRULELIO 
wom potdoo 910M 
‘sadeys oL1yue000 Jo 
sdureys sseiq pores 
-ua OM} Jo ‘poxouue 
SUOYBYSNT[L 9 UT, 
‘Ayuo suosiad Jo soureu uleyWOD puR ‘ozs [TeUTS Fo 
: aie Woy} JO [TW “ATeIT pue sours ut punoy ATuonboay 
; uooq oavy (Arnyus. patyy oy} Jo ATqeqoid) ase pouLui41034 
-apun jo pur uorjonaysu0d aeptuTis Jo sdureys sseigq 


“TUMOS 


‘NOISSUUdMN] dO SGOHLAT, ANOLLNY. 


WITH 6 TO PICA LEADS. 


iF. ee wae | 


ROE 


‘EL d ‘Hmanabuy poos, uo asynasy, oyeyQ pure uosypve , 


"XBM ssord ut 0} posn w9eq Savy JOU P[hoo 4r yeu} 
saaoid SSoUTTDNOL Sle gee: 
Joyun0d YSnor Bw YYLA pue “opto 
ASIOADL UL ‘JOIfat UL INO 919M 8.19} 
-jo, oy, diysueury.om ueuoyy 
plo jo wounds ev se poasosord 
SL YOUpM ‘uINeSnyT YS oy} ur 
dureys ssviq soyjour jo yey} st 
woLyRysnyL Surcueduroosor oT, 

‘yuL ql suyuntd 10) Doenaag OAvY, 
plnoys dureys oy OpNpPUOd 04 aart{ oar “oovzms oyseyd Lue 
UO VOISserduL Jou B LOZ 4L poyyuN ppoy ysHnor sup} sy 
“yueoyTUsis st ApuerMood sty, “Poours pur yey oq pynoys 
YL ALOYM YONOL OG PTNOM XV OY} WO DOVPEINS posted OU], 
‘sjvas Jo suotssorduat oy} OYUN St yey} couUUeU B UL XBL 
a} JO VoVFANS oy} MOTE YUNS sao}joT oonpoad pynoa Tors 
-sorduit oy} ‘xem ut posserduat oq prnoys dureys sty} JT 

: ‘OPLLM. 0} APTLIGRUL STY OPI OF PoySLa OM WOZyLO 
BV 10 “SULLM JO 9[qno1} oy} Avs 07 dures sty} posn 
OM [RLOYJO OLALIO B Used oARy ABUT OFF “SuUIYJOU AOUY 
IM SVIULLOFT SHITLAD JQ ‘spulsazeT smapoayg snane sng 
fo aimpubs ayy ‘poyeysuer oq Seat Youpss ‘uWoyRAysnqyL 
Surdueduroaoe ¢ a UL S.19}}0] 9} eonpord prnoa dures stqy 
WOIF Way} WOISSa ord uy ‘euly 
Japiogq 8 Aq posopouse pue ‘surjutid 
IOf oUOp 9q MOU pyHoOmM yr se ‘CRM 
OSIOAOL OY} yuo ‘suoydttosut ane 
po ye Jo o[Ays Tensn oy} UL Loyjes50} poTppny ‘s.eyjeT 
jeqides Fo soury omy punos are dures oy} Jo oxy oy} UC 
‘OTpIIS 10 ureyO vB wIoO’Z popuiodsns sea yt veya ycoddns 
B Se IO TOSUY IY} OF JoxOOS B SB posn aq savy ALU 
your ‘ozyeyd oy} Jo yorq oy} 0} poyoRyR ST SULIT ssRiq 
Vo ‘Opra yout ovo oymb you pur suoy seyout oy qnoqe 
‘oyeyd sseiq e st dures oy, “Too s}t Jo oinyeUsis 
ey} suyutd jo ssodind oy} Loy opeul Ueeq art] 0} Stes 
YOM pure ‘oULOY TRO pUNOF SV Jey} otpet UL poavssua 
s19}joT LM duis pury ev sey UmesnpY YSYLIG ey, “yur 
WLM Suyuud fo poyyour ouo ‘ATPeyuouaLtedxe ysvoy ye ‘pasty 
-ovid SuUBULOY PTO 9} JY} SVOUPIAD OUIOS OAV OAL 
‘pasn os otam Soy yeyy epqeqord you st yt gnq ‘syooq Jo 
aINjoRpnUBUT TROTURTPIT 9} UL ‘pre uBR sv ysveT Je ‘posn 


[‘uosyoee mo1,7] 


‘durmjg weno plo UW 


ORK, 


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 CNOISSTUANT dO SaOHLAyY GAdTLNy 


- 


yeyy yuryy Aeur flo pue yoryq-ayours s[eLioreut uMOUY 
-]JoM oy ore Yur Sunurid jo syusrpsssul joryo ayy yey 
soos oyM “quid usopow oy], 


‘gpeisqo 3yqeiuNoU 
-INSUI UB Uddq SAY ppnoar siyy “eyo OU Useq peY 
aJoyy jl inq ‘sunurid jo yuawdopaAsp sy} 07 JUSUIp 
-odu Suri e nq woes Aeuw yur aqeynsun uy 
‘asn & poyUNy Os puNoy 
ased snotsoid ev uo poqiuosap sdureys sseiq oy} jeyy 
ainyeu sty} jo suorssoidun jo souvreodde soieyur 93 
jo uoseol Aq 4qnop ou ‘seM }y ‘ooR}INS SUIIIM hen 
Mopeq oyeoued yur Awums e 10 ping eB oyeuUI jou 
pynoo dureys yejou yoous e jo uorsseidun yey oy 
‘uondiosqe posisop oy} pre 0} ued e Aq payoiesos 
SI o0RjIns SuniM oy} ssayun pur ‘sjood apaiy ur uo 
ple] SI W ssayun ‘paqiosqe oq jou [IM 4] ‘Aqsodosd 
oysneous 9qooj B Jnq sey ‘Wns YUM pouayoyy ‘Yul 
SUN ‘pooseye Ajiseo pure ‘sjods ur a[qLseqy]! ‘ssouypryq 
Jeynso11 Jo oq plnom possoidun uodnaisyy yur ayy 
‘umpjoA Jo soded uo padureys usyp, ‘soyoioyq pur 
-sjods Ul yo]Joo pjnom YU sy], “JO;OO Jo wyy yours 
-® YIM poioaod oq JOU pynoM so9RJINS [eJeW 9} ‘SyUr 
Azayem asoyy WM ‘Ay[njoreo Os JoAdU “JaAO posysniq 
useq pey osed snoiaoid e uo poqiiosep sduivys sseviq 
oy FI 
ay} 0} paydde ussq aaey jou pynoo Ady) ‘sunt 
JO spoyjou J10y} Joy useq oAavy Aew Ady. se [Njasy 
‘sase yJep oyi jo saqiios oy3 Aq ‘suoneoyipour [erts4 
-eWU YM ‘pasn Jom ‘piny Sugum uey Suryorq 


Jolfot ul poarisua Q0eJINS [eJoul e& Jo Sulyul 


soys pinbiy ayy o10ur ore YIM ‘SsoinqxIu asoy y 
‘sje yeolueyoou! 9y} 

pue ounrpou oj paydde usy} aspeymouy oynusros 

ayy jo Ayyenb oy jo uorurdo yo1109 e ultoy APU auO 


odisei opnso siyj wooly ,aares e se poAojdwa pur 


6 


‘pauayoly} II] e Jl ‘Spyeos ur pnjosn si pue Susisues 
jo saseo ut uoneoydde poos v si,, oinjxiu Joe] 9Y} 


‘NOISSHNdW] JO SGOHLAYY ANOILNY 


WITH 5 TO PICA LEADS. 


Q 


jo yord gouNO FyeY-oUO ‘UISet pouindg Wol speul Yyoe[q 


-oyours jo punod jyey-suo ‘st epynua4o0; Joyjouy {00S 


JO saouno day} YIM poxtu oq prnoys ums jo s9uNO 
auo yey} skes oF = ‘sonMuenb oy 07 se oylosds as0u 
si saplioosorqy. ‘snsAded oy oq aye pue Ayrodoid 
oNsneous Ue YUI 9Y} ALS OJ ‘plow Jo asn [eUOIseID0 Ue 
0} opnyye soop oy 3nq ‘syeriayeur ssay} XIW O} posn sear 
ping yeya Avs Jou soop afFy ‘wns pue feooreyd Joos 
JO apeur SPM SI9IIIM-YOoq jo yur oyy yey. sAvs Aur 


-Anquoo sty IY} Suiinp SOqIIos UCUTOY pure Yoott) 9} © 


Aq pasn Sea Jey} YUL SUM oY} JOP sepNULIOF oy UdALS 
aaey saplioossoiqg pue Aug “YOM ay} JO} sPqQeqINs 
yur ou pey Aosyy ‘Sunurid jo sonovid ayy ul ayqes 
-uadsiput sv piesa 9M YOIYM sfelioyeUul [eJoAas Jo 93NI1} 
-sap o1am Aoyy, ‘szuzog huvut ur pagiof syuarjuv ay 
‘Qanyrey o4tqus st qurod ouo ur ainprey  “*peystjdwoose 
dq JOUULD WIOJ MoU B UI B[OYM oY} Jo Surxiu dy} ‘UO 
yey) Jo yout oy} sof Gnq ‘Aqpenb pue Ayquenb ur yoexe 
‘Qr0yy oq Aetu suo Jnq sJUSNISUOD dy} [PY “eNIXTW [eo 
-IlUdYO & JO 9SOY} IYI] 91V UOMUSAUT Uv Jo s]UaZJO OY LL 
‘IOLID DARIS B SI OJOFZ “JOoPSou IO JUOplooe YSnosyy 
passhtu SBA YIYM UONUIAUT oY) SulArseid pue Suryeu 
jo ajqedeo sem Aynbynue jo uoneziiA ayy yey} ‘UO 
-duinsse ay} uo paseq si uonsonb styy  ¢ AydessodAy 
JO UOUIAUT OY} JOF SuCT OS WeM OF DARY P]IOM ou] 


pip Ay A, ‘poyse oq Aew uonsenb ay} ‘stoye] syqeaour 


JO sosejueApe dy} JO IWOS JO dSpo[MoUyY sey e FO pur 
‘Suidurejs pue Sulavisua jo spoyjour snore ur sorjoeid 
panunuos suo, jo sn o1ojaq saoueplAa asey YU \\ 
_AdAdIOJ DARTS SJOJseUI pres ay} 9q 
0} pespnipe pue ‘[aarys 107] S Jove, 9q3 YM “Yyooyo 
ay1 jo qyeq ayy uodn 30 ‘peayssoy ayy uodn poysew 


oq O} SEM ‘PoyIAUOD pue usyeq Suloq uodn ‘ous JO IU. 


‘Aeme uni plnoys oavjs paspnipe yons jr pue :sivoX 
OM} IO} dARTS sTy oq 0} ‘soNsnf ve s10foq Joy IO WIY 
Sursuriq uosied 9y} 0} pospnipe pure ‘[puoqesea s0j] A 
Jaqq2] ey} YIM Iseoiq oy UodN uUOM JOY & YM poyseu 
aq 0} SeM 9YS JO ay ‘1es50q & JO ‘oIseul & Sunuem 
JUBAIOS B OY! ‘S}90.8 dy) UL Io ‘Opiskemysry aya Aq Sur 
-JOPURM aIPI 10 SULIOPOT JO payoIAUOD aq pynoys Y10A\ Jou 
phos oys 10 ay yeYY pasvasip 10 pase os Jou Juojodut 


‘NOISSANdN] JO SGOHLAJ ANOILNY 


er he ee 


. 


& C0 


af) Tg PE-I ) IN 


@ Sa 


op al 


GEORGE BRUCE'S SO 


nit 


Rate oe 


(en) 
: 


, 


Pica, No. 20. 


useq pey AydessodAq jo sassaooid ayy ye Jy “sunutd 
ainbar jou pip swoy yusoue Jo uUONeZIIAI oy 
‘porjod owes oy} Ul oUTSUS UWes}s oY} 
jo uonuoaAur ue se osnjzewoid se useq sary plnom 
‘sose yrep oy} Sutinp ‘soouvuoyindde sj ya ‘ppnow 
-adAy a[qeyns e jo uononmsuod syy “‘Astweayd ul 
SPM oJ0Y} UY] SoTURYSOU UT BdUDTOS ON] JO atJOW OU 
SPM JOY], ‘posiosoxa ATqooj nq JO JUsIDYap Se sny 
-eredde Surars-sJoqe] pue soulyoeu jonajsuoo 0} Uo 
paiduioid yey} wads ayy anq “som puey snorussul 
jo pury Aue jo uononposd oy} Joy YSnous [ys [eoru 
-eyoow sem otoyy “Ainquoo yUseyYy oy) uUeYy} 9o}ep 
Jayzeo ue ye poyUoAUT Ud0q SAY PyNood wisTuPYoUT 
Aq sodA} Suryeur jo poyjour syMusIOs oy) yey} ‘oyqe 
-qoidun soisep jsoysiy oui ul st qo = ‘AjUO poyjou 
suo Aq opeur oq ued 4sod 0} Se [eoTUIOUDDD pue 
‘Apoq 0} se oyeinosoe ore yey) sodA 30,J ‘sadAy jo 
Suryeul oy} Ul popsou st yey] WstueYyoUT ay} pasiAop 
savy plnoo sy JoyJoyM pojqnop oq Aew p ‘sose y1ep 
ayy jo yred sorpieo oyy Surmnp gstAdoo e Aq 40 “AoqIas 
-yooq uewoYy yuolue ue Aq pourezioqyuo useq pry 
sodAy afqeaow wool syooq sunutid jo vapr oui J] 
‘yoomM ke JOJ Sossoid 
sunuid jo spuewop oy} Ajddns 07 Asnjuoo yuseyy 
oy} jo pus oy? ye doays Ysnous Jou s4JaM diay ‘0} 
powasojuoa useq sAeY pynos uin][eA jo azIs poyoLyso1 
ayy jl uaAy ‘winyfoa jo Ayddns [eszoqi e uodn pusdap 
0} pey HW jl osprey ev usoq savy prnom AydessodAy 
yey} Jeop si yw ‘oqiq poyutid ysay omy Jo Adoo Aroaa 
UI posn stam Paays poaspuny aaty2 UeYy s1IOW JO 
SULYS 94} Jey Jopisu0d OM usYyA\ ‘sold oyeUrTpsoUl 
jo yney soaeis oy. YM poredurod se [RIA oJoM 
syne} asoyy yng ‘soded uo osoy} se pojurid Apeou 
os jou oJe umMpaA uo syooq Apres oy ‘oqeose 


--uUeWIUN pue SNOT IY eat} ‘Aqqey st jl ‘91e1S peo sSIOur 


SWI UI !YUI s}SIsoI pue ‘Aseons st yt ‘sodAq seam. pue 


¥ 


‘NOISSHYdN] JO SCOHLAY, ANOIINY 


WITH 6 TO PICA LEADS. 


SOLID. 


‘ysiey St Wi ‘oyeys Arp sw uy ‘saajutid Suowre yeroyeuw 
SPIOARJ B JOAOU SBA UINIJIA Ing  ‘pejyUsAUT Useq pry 
Sunutid soye ssoyeurumy! Aq pastoyoid sem yy “tunyjaA 
poiajoid sose ofpprur ayy yo sysifdoo yooq ayy pue 
SWOY JO Soqiios oY] “e[[O1 Uspoom ev punose punom 
Ayjnjores useq pey PW uoyM Ayuo aIndas_seM J] ‘USUI 
-yoied jo yooys eB oy] ‘poytoddnsun ‘dn payor aq you 
pjnos 7 {syooq ur dn punoq aq jou pjnoo yy ‘zaded 
8eI UIOpOU VYI]T poMas pue pases.4o ‘paplof oq Jou pynos 
yI yey opqiq os sem pasn Asyy yorym snidded oyy 
‘Suryeul-yooq Jo Sunurid 07 pajoAsp useq aavy pynoo 
yey toded 107 oynIWsqns OU peYy suUeTOY plo sy], 
‘Ainjugo. YyUsIIFY yy JO 
SuruuLseq oy} paun Ajenb jadoid jo zou Ayquenb quar 
-yyns ul poonpoid jou sem 7 ynq ‘poyusAUT sem Aydes 
-So0dA} a10jaq salinjusd OM} yNoge JOF adoiny poziqiato 
ur umouy sea sodeg ‘Ayyiqeinp pue ssoujoeduos 
‘ssoudeayo ‘yysudIsS 10} sjuswosinber siy ul Jopesd 
ay jo sjuem oyy sorddns yey yeueyeur AjUO |yy “Sul 
-yurid 107 paydepe Aypeorueyoour st yey} yeloyew ATUO 9y3 
‘aded jo uouaAut oy} 10¥ Wea oj pey AydessodA Ty 
“yur jo 
UONUDAUT oY IOJ WeM 07 pey sodA} jo UOUDAUT oY] 
‘pooysiapuN udseq JOU peY [IO Jo asn STYyy JI ‘poprey savy 
pjnom AydessodAq Jo uoMUdAUT Ue Jey} poltosse Ajuop 
-yuoo oq Aevw q ‘saynqyysqns gjqeonoeidun yw uoney 
-uswtiedxa payeadal Joye pue TIO YM spew yur Sul 
-jurid Jo asn oy} ul sdUdLIEdx9 Jo Salinjus. INO} JPW 
IO YUM yoryq Tey poxtur Asyy usyAr Ajuo papsasons 
‘sjstXdoo oy} JO YUL BY} aSN JOU pynos oy ‘sroquiid o1yd 
-eisoddy Aiea ayy, ‘sodAy. jo uoMusAUT Uy pepeseid 
Ajoyeipowull ‘Ainjusd yUseyY oyI jo Surluurseq sy 
ynoge Jo ye ‘puryjoyy Jo yoAY ueA Woqn}]{ OF Sioy3O Aq 
pue ‘Ainjusd YyUeezINOy at} Jo siojured uelyey] UMOUY 
-un 0} sioyyne owos Aq ponqiqye ‘uUOoNUsAUT sIy ] 
‘sunured jo 31ev oy} Ul UOTNJOADI 
eB WYSNOIM YIYM UONUSAUT yeois vB SEM TIO YUM AOTOO 
JO SUIXTU 9} “WI9es Aew yt se ofduis ‘uouaAoidut 
pokejap Suoy e jo Ayordurs [ear ayy Jo oAeAsny]I se 
poweu oq pynoos yoIyM suonUSAUI Aueul jo auo ynq SI 
yur suguid urpoyy = ‘eyqesnoxour pue snoynoipis st I 
JQAOSIP 07 AjyIqeul ue 10 ‘9INj}XIUU SITY} Fo QULIOUSI Ue 


' ‘NOISSHaUdN O SGOH LAA, TOOLLNY . - 5 


GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 


y y ‘J > i. 


Cae ¢ a ' A s . . . ae ee 


el tae ee en ae ee ey 
yee pabanaaebeer AAD a 


~ KP Ee eet Pate el z mt os Pie 
Pha BES reg? Sa OR Sas aerevae tts 
ow Feel tL ie mal tev hess f2 Ae Jadsst? Ki 


a 


4 2f UE eee ay 
to). See 


ii LOU SAP eee 


Smauu-prca, No. 11. 


22 


“prop SBM oInyRto}T] 


oy yoodsey “werTUTNe £q popuout 
-ULodeL Woo PRY yeyy oye[d Joueys Jo UITOF Of} YT 
sioded 07248 USIS 0} pest{qo sem puv ‘oyLLM you ppLos 
‘ycG@ pues BTG SsavoA oY} ToeM4oq poustet oy ‘I Uysne 
ioredure ey, “Ajotoos Jo syuRI TTB UL popeared soured 
-ouST “WoyRdtetes Sutpoooons AtoAe [ILM potSTULUIlp 
Siepvel JO JequINU oY} pue “peal TOPs oto Woz}LIM 
moog prey yey} syooq oyy, “Avoop ssopedoy ozUt UeT[ey 
pey Suryeu-yooq Jo ssouisnq oy} Ammzuoo YyXIsS oy} UT 
‘POM oY} JOYSnory} otnyRtopt] JO oUTPop oy} olrBo 
aridui uvutoy oy} Ut tomod Jo eutPop ot} WTA 
‘SOOLOATP PUR SOSeLLIVUL Jnoge dissos pur 
gsmou AqI0 OY} pul oJ poyoodxe of YOM UL Jooys & 
sev DP ey} SUOIMEUL OLedI “AULIE poTqulosse Ue OF 
peor ‘sotutjoutos ‘sem pure ‘seT}Io JURISTP UL StoqLtosqns 
0} JUOS SVM 4] ‘OOUOSTTPOJUL SUTYZTUISURIY TOF UINTPoUt 
[ROYO IwMFe oy} sv stop Arecoduroyuw09 Aq pouory 
-uout Apjuonbory sea yt yng Spoystyqnd sem yt MOT LOT 
‘TOVJLIM SVM JL MOT MOUY JOU Op OM “OFETES OT} JO 
sSurposoord oy} JO plooot B Teeq GARY, OF STHOOS TOT A 
numup nop oyy “todedsmou Ayrep yditmosnuvur B pet 
oy ynq syooq Jo AyueTd pey ATWO you suvtmmoy oy, 
‘S1OyRU-YUNTY pues 
sreyojng Aq yYSnoq sowityoutOSs sVM JoT[esyooq eB Jo 
yooys pjosun oy} yeyy SABS 1oPLLM JoT}OUR :soeords pue 
Xkysed dn deim 0} pesn oom Ay} odoya ‘StoxVq puB 
g190018 jo sdoys oy} 0} “aayst{qnd oy} jo sesnoyorem 
oy} Woif scoyyNe [BALL Jo syooq pjosun oy} Jo Aueul 
OS JUOS 4VY} OLVF PULYUN oY} ToAO SopponT IopLIM UC) 
‘ggouISNg JO SpULY oATwMoeds ysout oy} Jo oto ‘MOT. ST 
qt sv ‘UOT SVM SuTYsTTqud yyy SuOrpBortpur Aue oe 
a.10y} Inq ‘WWTeem potmnbov Tisog stoyjo1d oy} pus uoyd 
-Aty, oy ‘saoystpqnd outos yeyy UleveyT OM ‘uoturdo ue 
Ayysnl 0, syory Jo Ysnous YOU PART, OA roystqud pue 
LOYING OY} Woomjyod JUSEULO.LoVSIP P[O STU} JO S}LoUL ot]} 
JQ ‘oreys B T[BUIS 00} UIT oans uoydday, toystqud 
oy} yey ‘A[snore.sun yeVYyMoeUlos ‘SoyeUITyUL ynq ‘qord 
sem tMs sty} JO Fey yeyy syrumpe ApyuRIy ep “SPUV 
Wee}XIS Jnoqe ‘Seor1ojsos AnoF ATWO AOF PTOS SVM YOOG 


‘NOISSUUAMNT JO SGOHLA, LAOILNY 


Fite my, tad 


WITH 5 TO PICA LEADS. 


SOLID. 


 AYYSIO ynoge ‘Tlreusp 9A ye ponpea SBA Surputq 


y foes 


YIWooATYY ST yeuY poureydua oo kptonbosqns off 


‘snakdeg Jo sow WM “UMTULIOg WRULOY 
‘sqdtmosnur yy Lox oseg IO UIMNTULIOG 
‘ooRFIMY poxvM THTM Pola 


“peyorng, Ayeyazed sydrosnuvyy snakdeg 
‘QOYOLT, OU} WO OYLL UIE ‘Tow Fdetosn we] 


"JOO.LIOOUL 10M SLOT[OS 
-yooqd Jo syooq oy yeuy sXes ‘ATQTSoeT]T 0}O.1M Ayqeqoad 
ops ‘oqeyg ‘sesnuretoust se sioyst{qnd eq} soTMorpl 
‘titoy ATA UL ostiojotd Jo uorydootod Wooey B Pe OM 
‘TeDM] “JUoJedULOOUT 9.19M OULOS PUB ‘odood Aueut 004 Aq 
postjovid SVM SULpet-yood Jo sseursnq ey, ‘“Sel[qutesse 
pexttd UL pue sioeuurp eyeatid ye ‘sosnoy Jo soootsod ot} 
ut ‘Syyeq ouy yV yng ‘SeLTerqT] oy} WI ATWO JOU Pear O.1OM 
syoog ‘sjoxood 10 spuvy sApoqs.toao UL PUNOF oq OF 0LOAL 
sureiside SULSUTS JO SYOOd SI Jey} poysBod ‘pptom ot} 
jo wer [etAol ot} ‘Tete, “Uo}ILLA JOU 9.l0.An Aoy} JUOUL 
-UIR}.10JUe OSOTM LOF S(OUS IesTNA Jo spuvy oy} UL puny 
SOUITEUIOS oLoM LOY} JVI] PUB “WOULD 00} LOM SYOOF 
STY JV} poure[duroo ‘siejjo] JO WUT SNOTpIysey pue que.co[o 
oy} ‘sovtopT ‘TnsyUeTd otoM SHOOd Jey} SN ORO} ‘Army 
-ue0 4SIy oy} Sutmp sroyjne Aweut Aq opeul ‘sreystiqud 
pur systidoo ‘syooq Jo seotjou quonboay oy} yng + peystA 
oq plnoo se ostoeid sv you st suryeut-yooq Jo PleF ut 
UL LOG] JO UOTYRZIUvS1O UBULOY oT} JO espoT Mou nO 
‘SOSLIUBAPR MAT polo oAVY plaos ‘woTyEdULo9 uedo ue 
ut ‘AydersodAy yeyy ‘syood Jo uoronpold eq} Ul JUeTeazo 
o§ opeur o10m ‘sroystiqnd Ayy~vem Jo Worpoedp ey} topunl 
poztuevsi0 pue ‘esuedxe [eUTUMOT 4B peT}O[) PUB Pof ‘Ou 
‘SOARS po}yBoONpS 91M SoqLlos jeuorssejord oy,  “Plos 
aq plnoo Aoy} URYY JojsVy opeUr o.leMm SYOod PueB ‘peposeu 
7 UBY} SAoT[osyood eLlou pey emMoY *SnosrewNt eto 
Soqttos puv ‘deeyo sem coded snikdeg ‘ued or} Aq ped 
-dus A[]}URpUNGe o.10M S.Lo}LLM PUB SopBet FO SPUBA OTL, 
“pasn Uae OAVT] JOU P[NOM J.B OY} STB[OTOS S}T OF PO[BoAot 


‘NOISSHUdW] dO SGOHLAT GASILNY 


snon} 


GEORGE BRUCE’S SON & CO., TypE-Founprrs, No. 13 CuamBers-StrREET, NEW-YORK. 


23 


SmMALL-pIcA, No. 11. 


pip oyeys oy} JT “Suyutid Jo Mois oy ejouroad 04 
Youtw oMOp OAV, voLLouTY JO spooyps orqud vedf oy], 
‘ydeisofo} oy} JO WOTJUVA 
-UT OY} Souls poTqoe.y ueyZ etour sey sdodvdsmou ATrep 
UBoOLIOULy SurIpeo, Jo wore oy, ‘ssord codedsmou 
ATLep of} 0} SOOTATOS Ss} ut ‘oouRytodult sour ety JO pues 
‘KTOAOVSTP JUOdaL JSOUL OY} ST Ydvasopo} OLLoo[9 OU], 
‘JUOWUIOAOS UL 
SULIOJOL 0} PUB ‘QOTIOLIOS UL SOLIOAODSTP OF SSoVONS SIT LOF 
peyqoput ApoSaey st yt ‘AgLMyRUT s}t UL fs}ce TeoruRTo 
-0UL pUB [RLOqT] UL SJUSTMOAOIATAT 0} 9dTIOJSTXO SJL IOF 
poyqopur sva Suryutd Jo woryuoaut oy} ‘Aouvjur Sy UT 
-Aydeasoddy Jo yuourdopoaop ey} of AVM oY} OOS 
apeUl Jey} espo[Mouy Jo UOISNIp Iopvorq oy} SBM FT 
‘agneo oy} Loy yoorfo oy} soynyrysqnus pur ‘“epto rodord 
oY} SoStoAor foTfeq Sty, “sutjuttd Jo WOTWOAUT oY} OF 
onp sem Armjuoo YWee}JY of} UL poysojtaeut ATTROT) OS 
SVM TOITM oSpe_MouUy JO WOISNYTP oy} Fey} Jotjeq Wout 
-ulod & St 4 “ppoydn uoeoq sey yt Youpa Aq s}toddns 
ey} yoopteao ATuenbely om “ppIoMm oy} OF oUOp SvY 
Suyud yey} ootares oy} Jo oyeuIse Ue SuULyeUL UT 
‘oumoy ye you puR pRoIqe 41e ot} 
jo eotpovid ot} UWI, poATIop Woeq savy S}youoq osoyy 
‘Suyutd uro1y sjyouoq Aue oavy oolxeyy pur AoyMY, 
jo ejdoed oy} JT ‘oorxepy 0} sessord pue s0eded oul 
-jutid spues uojsog pue ‘Aoymy, 0} Syood pues sod Aq 
Spues pUR[JOoY MoU puy ‘“puR_oog UL Jo 4ILsnoyy 
UWoAe odoM soddy otojoq ‘QgFE reed ot ut ‘ofdouyueys 
-U09 UL peqyutId APVoM atom SYOoT ‘s}osnqousseyy Fo 
Auopoo oy} UL poyst[qeyso sem SuryuLid o1ogoq saved po.tp 
-uny euo AyvoU ‘OFCT IO GEGT UL Oorxeyy Jo API oyy UL 
dn jos se POA MON OY} 0F FySnorg ssord suryuttd 
qsiy oy, ‘suvodompy jo syueuroactduat oy} ydooor oF 
Suyimun pur 41 caoadut 0} etqeun ore oy efdood 
ew Jo ssouosteAted oy} jo pue ‘ssovoid of} Jo Ssouts 
-uMa ey} JO TOG y[Nset of} ST poyjow osouryy) oy} JO 
Aouowyjout pes oy, “Surputid uvodommy pue surjurtd 
esouly() JO S}[Nset oy} Woomyoq uwostreduros ou eq Uvd 
a1oy} jnq SeLmyues AULT 1OF VUTYY Ut postoetd woeq 
sey SuNULIg ‘posn oq prnoys yt sv yt osn 0} pored 


‘NOISSUNANT JO SCOHLAW TAOLLNY. 


WITH 6 TO PICA LEADS. 


SOLID. 


-o1d you o10M OY o[dood vw Suoue suyud Aq poyst[d 
-UlOd9V TOE, JOU OAV, PUB Todd GARY FULSTUL 4eT]} S}[NSo.L 
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‘NOISSHUdNT JO SGOHLA TAVLINW 
Enh el inane ee CEE mE PE Ot Oe 


GEORGE BRUCE’S SON & CO., TyPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


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Smaru-prca, No. 13. 


24 


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g[OOYS vodF JO FWOUTYST[GVISO OFVUIOISAS OT, “UORI9UIS 


‘NOISSUUMW] O SGOHLA ANOLINW 


Qa 
Yo. 


TO PICA LEAD 


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WITH 


SOLID. 


—— _ 
LE ier a 


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jo uonsod oSavy B ‘TORNONpe 9a PUB SYOOd oof Toffo JOU 


‘NOISSUUNdMN] JO SGOHLA, AAOLINY 


-FounDERS, No, 13 CHamBrErs-STREET, NEW-YORK. 


vi) 


GEORGE BRUCE’S SON & CO., Typx 


25 


SMALL-PICA, No. 13. 


e[duIs TOUS WIA poystduroosow wood oAvY S}[NSeL osot} 
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‘NOLINGANT GHG OL AMY AY 


WITH 6 TO PICA LEADS. 


‘roded JO WONUSAUL OY} SBA 


SOLID. 


poyeorpur sv Spar WIA Suyurrd fsyorq ysruopAqeg omy 09 
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“AHAUVYVOdAL AO NOLEINGANT GHD OL AGM 
It 


GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


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SmaL-picaA, No. 15. 


26 


- 


‘YOM STyy Jo ZT osed 
uo poureydxo uoseq sey ‘poarisuo 
Wag PART TATA S1oyQET TYLM pored 
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jo ssoudvoyo oy, ‘stoyutid uot 
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oso} yng ‘poo uo yuo ore saoysod 


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‘NOLINTANT AHL OL AMY AH, 


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‘NOIINDANT GHG OL AMY AHL, - 


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‘NOLLNUANT GHL OL AD AHL 


GEORGE BRUCE’S SON & CO., Typn-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 


—_ 2 _ . / 2s i 


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Smaui-pica, No. 16. 


28 


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“NOILLNUANT GHL OL ADY AAT, 


WITH 5 TO PICA LEADS. 


SOLID. 


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SMALL-PICA, No. 16. 


“eQoy ‘uopuory ‘ojo ydosor Aq “hunwmig fo 1p ay2 0% 
‘Suryy oy} 0} toydeasoipAyyT pur ‘Kyo payddn ‘sywoy4 -Apunzy fo au.yoog 
-100g [eho oy} Jo Jequieyy ‘UOXOTY ay2 10 ‘saswovamsp § Yyouunysayy , 


‘addy yuonbesqns AroAo fo Surysvo oy} ur pozeodod 
aoM peqiiosep useq savy Yom suorearodo oy} pure ‘prnout 
ay} uo pooyjder uey} sem xXIyeut oy, ‘eddy OY} JO MorTyy 
‘ss0] @ ppnow oy} surAts ‘pue “puvy qysit sty YIM xXLapeU 
ey} podouiot soysvo-odd} oy} ‘opeu sev MOI} STY} WOT AA 
‘inp sad sadhy punsnoy, aasy, 072 punsnoy, oa wor Area 


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pinom soedd4y yooq Axreurpro jo soysvo-odAy oy} Jo soURULIOT 
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‘HIOM MOTS ATOA SBM JT ‘OVIUBUL B JO SUOT}IO}UOD OY} OyvUT 
ysntt so}svo-od Ay oy} ‘pavusog ysnsny sojimm ‘soddy oovy OF, 


‘NOILNGANT FHL OL ADY AA, 


WITH 6 TO PICA LEADS. 


SOLID. 


‘moyeurpdxe ormber jou soop = peTeo ose st ‘fo meyorq presrroyye 
Try Sy10M oTduats Afoayeavdutos st st pue ‘eddy yseo oy} 0} soroype 
sodéy oy} Jo Surystuy oy, “Jor oy} YoryM yejJout snongasdns oy, ; 


‘YIOM pPIVy SV Surysvo-puvy ‘sosvo yTe uy ‘Te ye poamboe 
JoAou ‘tom Suo0rys sur0os Aq—poamboe ATMOS sv ‘LOMUBUT JST 
oY} UL puv ott} YYSTL oy} ye ‘puey Yor, OY} YI ysvo 10 MOAT} 
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[eyo oy} ‘euop you sem yt Jy od Ay oY} 0} oOVT poos vw oyvUT 07 
‘s10}}0] [[BUS JO Suysvo oy} ur ‘popoou sem Mo.ry} 10 yrof uoppns 
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9[QLoLOF BV GUTYVUL UI TRO po}poUL oY} pre oO} sv os ‘puRy yoy STY 
dn moryy oy Sp1of ueppns ev YIM “QuRysur oures OY} FY  “pynout 
oy} JO ynour zo yo oy} oyur poamod Apyomb oy yorpM ‘fezout yoy 
ey} Jo Tnyuoods wv yod-Suryjour oy} Woy Yoo} oy Spuey yyStt sty 
YIM ‘Wey, ‘Teyeur pojfour Jo soysetds yeyueprooe worP UIT 4004 
-ord 0} “of oy, noqe popretys pur ‘omy pooM vB UT poppequtt 
SUM TPTYM ‘pour oy} puvy yoy sty Ur Yoo} zoysvo-od Ay ory, 
‘Amyuoo sty} 
jo royrenb ysay oy ut stopunoy-od 49 [Te Aq postpowad sem OIA 
SUISVD JO poyjout oy} Fo woryezyuesotdor yoorroo ATTeIURYsqns 
B SB podagfo oq uv ‘aapunoy-od 44 Ystpsuyy Apreo ue Aq poystqnd 
SUIARISUD UB WOT, Uoyey ‘osed SUTMOT[OF OY} UO TOTVRYSNTL OTT, 
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ssooord v Aq puv Prnour-pury v utoaz ‘puey Aq ysvo or0M sod Ay Te 
oJVp sty} ot0Joq “gegy «vod oy} ut poyuoyed uty Aq pue ‘Ay10 
YIOX-MON Jo “arp ‘oonrg praeq ‘ap JO Worwoaur oy} ‘ouryoeut 
xoduios vw Aq poystdurosoe Mou st “SuULARISUO OY} JO yy} OTT 
peyonaysu0o prnour ev ur ‘sed4y Jo Surpunog «0 Surysvo oxy, 
‘pesuvyoroyur pue pourquios ATrpear oq youuvo 
Aoyy Jt fosn qeorjovrd ou Jo ore sod dy yey} pue ‘sTooy s}t Jo ssou 
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ey} yey} oes otoy} OAA ‘AOBIMOOR oynUTUT soy ApIssoooM OY} FO 
e[duexe ue sv 0} portejor urvse oq AvuT gz osed UO TOTPRYSNTT 
eyy, ‘Apoq Jo ssoujowxe oansut 0} woyRy st orvo AToAO ‘soorL 
-jeul oy} Jo yuourjsn{pe puv prnout vy} Jo WoTONA}stIOd OY} UT 
‘orenbs Jo No Suyjzos uos woy} deoxy 
YOU sopms udaMjoq ‘ssurrveq pryos pue pvorq uo oprs sAvMye 
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oq ued ro ‘sovds arey B oYRUI 07 sv os ‘raqJ0S0} osoTO yyYSNOIq oq 
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-jsnfpe jo Ayooru pue UoTjour Jo WOpedaz yeouS oavy Aoyy ‘ody 
ay} Jo Apog oy} SoUTULIeJOp YOIYM Wor}ooITp oy} UI oyqvAouTUTT 
oq 0} SB OS poXY ov PMouI oY} JO soprs OM} OY} YSnoyIpy 
peyoryye yol 
YIM “prnour oy} WOT; WMOTYY st yr oaozoq savodde yr se UMOYS ST 
ody 4s¥vo 94} G oINST Ur f ofqvoorjou ore syoru oY} OYvUT YOTYM 


‘NOLLNAANT AHL OL AD AH, 
PsN | Oh ee 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHampBers-Street, NEW-YORK. 


7 wee ; 
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SmaALuL-Pica, No. 17. 


30 


jo yy} oY, sea ueUTUTy Jo pynow oy ‘Soangvoy queytodun 
o1OU SI UL “VY SMOTWoIpUL oUIOS OTB LOT], “OSIBOD OS ST 
Suavisuo suvuury yey} puw [wus OS st yno-poom oY} yeUy 
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ayy wos poSporsip oson sodky ysvo oy} Moy “plnoutr oy} 0} 
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oy} MOF] ‘puUBT, oy} 07 ToToojoI1d B sv pasn oq OF SUIOOS YIM 
‘xoq podvys-pruvatd v 
UL posopue St gt pueB 
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[pweurury ysoe wo0.1,7] 


‘POGL UL postowrg sv Suysey od Ay, 


svy uvuUTy Jo plnour 
ayy Suomsod ur Apu 
xuyeut oy} doey 04 


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poptoad st ‘ose gavok 
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‘Langues YWOE}XIS oT4 
SULMp poadosqo sosesn puB spoyyzoUL oY} Jo SuOIBAySNTTL [HFUPWLLy 
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fay $kambut sryy toy onyea ou jo ore “ood sropqqoo oy} ‘gTOVG 
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‘NOILNAAN]T AHL OL AMY AH, 


WITH 5 TO PICA LEADS. 


SOLID. 


‘quowXoydme yuRJsu0) ITY eAvs pu 
ATySty Ape sty poutoeyse JOP YUL 
pue Sroquiemy jo sxoystqud oyy, 
‘poOM UO SIOUSISOP UBULIEX) SLOUIRY 
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presnqy ureydeg se ‘10 ‘ognunaoud 
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JQ  ‘suorsseyord ysouoy JOU sop} 
Joyyeu ore Aoyy sv ‘SsBpo yOUTISTP 
Aue 0} sonper 0} y[NOWIp oq pros 
qt YOtyA MOF VB JOU OST oI a1], 


oy, ‘stoyeysnit poyuid yyIM 


-oatyeyuosordox Sy 


OINI[NOLLSe UOT ‘wenn UT TAOTH 


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qsomye opty {sieAmery pur s}soltg 
‘sg{qoN ‘sooung ‘Sury ‘1oreduagq 
‘odog oy} ore * s**t SIepLo TOYSTY 
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sjuotmfopdme pue SyUBI SHOTIwA oY} 
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yep Aq suoyduosop yy “FCT Ut 
qoyjour pue ‘ggcT ut euo ‘peystqud 
O1OM OSIOA UVT Wl SUOTJIPS OAT, 
‘rejndod sem sapouy, fo yoog ay, 1 


‘soppy, pun syuny ‘spp yy. fo 


woydissay 20040) SYIDS! SUDFT 8B FL Soqtrosep ‘UvULIeL) Ul FXO} 


yim Sjooq ey} Jo oT} OU, 


‘Toc, avok oy} ul ‘urey-oY}-TO 


-j10FYURIT ye peysi[qnd sv worypM pue ‘sapoay, fo yoog ay] se 

S1OJO9T[OI-YOOd WAOpOUr OF UMOUY ST YOU ‘uvmury ysoe Lq yooq 

apy] toonb v UL poulezUOo SI UORUTAOFUL o1MOYINV ysout AMO 
‘yap oy} ut ATeaUe you o1B OM yn “ATOOILOOUT PUB 


(=} 


A[SuyySyS yt poywory oavy pue ‘oafqns oy} purysxopun ATY.ono10 yy 
jou pip Loyy $yuojoduroout 010M ¥re OT} EqLIOSep 07 oxvyLopun PIP 
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zo ‘fRaTMyDe} IO [eIATI} s¥M goofqns oy} Jeuy qyonoyy Loy} esneseq 
ayo ‘UoydLosep Wo pourBszor SIOM otf} OqLosop 04 quoyodu09 
o10M OYM OSOY], “WOXOPL etojoq posorrd svar yl sv Suryeu-od 44 
jo av oy} Jo uoydiosop oynuTUT OU OALTT OM ‘<yoyeunyz1ojyuy) 

‘Suryeur-od{q Jo sossoooid oy} Ul osueyo 
[eorper Luv weed LOAOU SVY{ LOY} YY} For[oq OY} LOF Wosvor OUTOS 
oavy om —‘[spfnour £0 sooeur] ,,ssviq ur sody SuryRul,, Jo puv 
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jo 4aB OY} JO sooou VITY popodord oTM SIOyINE otf} FO SOULEM OY 
Ul puy om se—‘UOIUSAUL UMO STI] SB syUoUIETduIL esoyy We) you 


pip UOXO JA, SV “UOXO TAL ydaso ¢ 


fq ‘oun ysay oyg tof poyeaysnqyl 


pue pequosep ATyoydxe o10M fay cours ommgvey jueztodun ue 


ul poourya uvodq Jou JABT Sou, 


ore Loy quq ‘sUOTWAAUI po ode 


suolpiu Jo Suyutd oy} Ul oActos 


‘sorapunoj-od 49 [[B UL esn UT [IIS 

pow puev xiqeur ‘ound ey, 
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feu ody ev uo J0qy0, oul f epeut 


are sodk, jo suorpra yor Aq yuouMaqsul oY} ST yound oy} uo 
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oy} ‘xugeur oyy sossordut yound oy} ‘qound oy sessordat yound 


-19yUN09 OTL, 


“poqvoda svy FI PIM gre oy} Jo WoTqure Uv ST Hf 


‘suorssoidutt Jo Solos Syl UT ‘suouttodxe poyorajoid pue yyonoyy 
jo yusor oy ATysoptueUT ‘sson0ad oYIyUOIOS BSI 4]  “LOPWOAUTT O]} FO 
qysnoyy Ayony Ysa OY} JO Maz oY} SV popavsoar oq 03 ‘Kaourpovur SyL 
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jou st sodky Suryeur Jo poyjyour styz yey} Pessezto oq ySnUl 4 


‘NOLINGANT GHL OL AWTY aH, 


GEORGE BRUCE’S SON & CO., TypE-Founprers, No. 13 CHaMBERS-STREET, NEW-YORK. 


31 


Smati-pica, No. 17. 


“IvTUUMeIS JO St 4t sv ArOYSTY, FO 
UOTRIOLA B YOUU SV ST SSBIq JO O.10A\ 
soddq Ajarvo yeyy quosoidar OT, “ssviq Fo 
‘sou ULLOF OY} ‘TOTUTOD STY} Ut “our 
Ayorer oavy J ‘saoqurd Ayave Auer 
kq posn Apuonboaz sva ‘ssviq wrod 
Io ‘fo yno 10 ‘ut ‘aim wa osvryd oT, 
“HOTPONASUOD STY} IBIG JOU T[IM oseNs 
-URT ey} Inq ‘ssviq fo patepuel We9q 
svy ssBIq we pojepsuRs} o1oy osvryd 
oy, ‘“pmmour ssviq v ut Io WoT au” 
xa Suranysuoo &q ATUo pooyssopun AT 
-1B9TP O WO TPTTA ‘SSBIG UI YOM OY} 
jo Sumutseq ev jo pu ‘uisTueyoout 
jo osn oy} sysessns yt { Suravicue 
TUTLYS wey etour Surpjeutos suvout 
‘Gu xa nynuos aj.1a0 ynroyyim eseryd 
ayy, ‘suyurtd oyetd-1oddoo moa y10a. 
orydersod4y souyop yy *aye[d-areddoo 
UO SUIAVISUO UB UT ST 4L SB ‘UT yd 
to ‘ut pornydqnos ‘sydjnasua 04 woryouty 


-SIpeI}UOD UI posn oly St Jatjer YSry 
ur yno yna Io ‘paanydtnos ‘sydpnasxa 
piom oxy, ‘“Ajotadoad aroy MoYs [LA 
Jousnzy Aq poyoTes Sp1om oy} Jo wo} 
-CUTUIRX9 9S0[P) WY “WyeT] WOT epvut 
spiom YIM ‘prnoo ysoq Aey} SB sre 
aatwodser oy} oUyop 07 pey sxoyuttd 
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-gsod.4q nd UROUT 0} pons) oq youTBO 
pue wed st osensury ony, ‘34a wa 
NADUOI 24.100 YDIOY NAD SYCINISLA S1.L994Y) 
St ‘QJFT JO Yoo oy} ‘evaprrr wn.toZ 
-daD4q 9y} JO 1X0} oy £ $2.10770) al” 
sydjnasxa st ‘eyFT JO Yoo oy “pwns 
ng unnosdy oy} JO 4x0} OUT 


Spree oyy Aq pouoyuout Apjuenbesy os ‘Suyyqnd oy} VU, 
;csseaq Ut undeq ATTeoyryUeIs ‘s10930T poangdqnos YILM 
‘qnop ynoyyia,, ‘poyurtd sem gt qeyy ‘AT[eaoqy ‘ses ot Yor Ur 
‘ouFT ut wry <q poqutad yooq aoyjoue jo quiidun oy} Ul TAOYS 
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fes 0} uvour you pip dousnyy yyy, ‘“seoLvur sS$viq wWosZ opvUt 
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u 4vyy (KT[Vr0y] eSenSuey sty SuIpeysuvsy) skvs ‘eypPT UL WHY 

fq opeu yooq v jo ‘yudun. oy} ur “maqsevayg Jo sousn yy 
‘jae outaIp v fq ysvo puw yno sea ‘yoog oy} Jo sodiy oyy 
Suruvem ‘yooq oyy yeyy ‘egpy wt poystqnd ‘moy} Jo euo UI 

skes ‘syooq Jo oyna &v Fs STV oy ‘Mosuo SB[OTOIN 
‘quo Uy} puw yNO 4YSIY o1OM YOO SI JO s109I0T 

oyy geyy skes “[yP[ Ul oouado,y] Vv SULLA “UTED paeutog 
‘Saoquomny IO yn ULYy SAoqzoT JO 104yNO [HFT[LS sou v 
sv jposummty sosteid oto Mosta ot YSnoyy]e “ysvo o.10A soda oy 
skes off, ZqUOTT ye ysvo ure T,, “Avs ATpeowoydvzout yooq oy} 

soyemt ‘gory ut uny Lq pozuttd yooq vw ut “ayayg sojog 
“ep sty} 07 osn ur poyjout oyy—sodiy SUL BUT 
JO poyjour poyst[qeyse oy} eqLosop 0} potoavopud seTL ot 4vyy 
908 0} [Iv} youuvo uoyduosep sty speor oy soydvasodsy {1000 
qnq ‘yooanoour ‘ATquqoad “st 1oyUOATI UB sv ysnT Jo woneoytoods 
sy puv ‘posnfuoo qeymouros st doystq oy} Jo yuouroyeys OTL], 
sedky Teyout ysvo oy YA Wodz ‘sooyeur poTpRo Xoyy Yor 


‘NOILNAANT AHL OL ATY AY, 


ai eerie: 


WITH:6 TO PICA LEADS. 


SOLID. 


i ‘NOLLNGANT FHL OL ACY GH 


(s10940] OU} [[@ JO SULLOF OY} SUIPUNOJ Jo PoyyZoU B potoAoosip ,, ISNT 
pus S1oquemy yyy seatesqo “FTCT Ul SUIYIM ‘SNULOYILL, 
‘spfnour ssviq ut sed{y opvur ‘teyout poypout Suisn 
fq Saoquoyny yeyy— Juror SILA FY puvyssopun uy} T[eYS 
am ‘Surpunoj-odky Jo oSpopmouy op] eB YyIA gt yuouteyddns pue 
‘qdejide wT oyy Jo TONR[SURAy [BAopT YY Jdooow UBD OM FT “OT 
-Ipo1OUL WOL.Lossv sIyy oYUE prnoa yorya sodAy ssvaq Jo osn pue 
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yno sedky Kq syooq poyurid sroqueyny yey} AyLtoyyNeE Jo p1odeI 
Aue Ul pug you op oA ‘ssouq wm SdoYo, SuguLd oyvUT oF 4say 
oY} SVM S1oquayny yey} peavssuo pvy oy Trp wo ‘O1oquoyny 
uyor jo Lxourout oy} 07 ouoys B dn qnd SiyAIA\ OAT “OST Ul 
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sod iq yeyg jooad opdure ore Loyy “19430503 potopisu09 foouezsodurr 
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jo Luv UI puy oA ‘[RJou paey Jo sprnout Jo osn ATIe KI9A B 
0} juIod Yor sooteplAe otOS oAVY OM ynq ‘STRUIULY Jo yo sIyy 
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saotyvur posn sdopunoj-od44 ATrvo oyg yey ‘oyur you pu ‘mouy 07 
Kropuysyes o1our oq pom gt nq ‘syuoutoydumt yous tof AqIssoo0u 
quoarddy oy} Wo. pus SSUIPUNOLINS toy} UOI ore Loy} Yeyy Loput 
aM ‘soogvurt ore Loyy yeqg AToarpisod oploop 07 sn eTqeuo 09 ynd . 
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‘NOLLNAANT FHL OL AD ANY, 


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SMALL-PIGA, No. 18. 


st Suravisusa oy wey} jo Te Aprweu ut ynq “no ATapnt ore 
sioyjo pue ‘Ayveu ore syutid outos fyenbeun st Sutarioue 
ay} jo Ayenb oy], ‘pommosqo ApPUenbesz ore samnsy oy Jo 
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ayy Aq poaord ApyuRpunqge st se ‘Suyroueys jo suvom Aq 
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sjuuid osey} ‘suoydecxe Mot & IAA ‘poom uo sSuravisua 
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jo Auvul UL puy OAK “peytteA usveq IaAoU sey ornqooltos 
sty? gnq ‘roymod 10 prot oy, [ejJeut Yos Jo sozxjd wos 
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jo somyord posojoo pue poearisue Jo oinjorynueut of} sea 
poydde sem Suyuiud Ap1ee yorya 03 sosodmd oy Jo aNOQ 


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yy “TRAYS DY} IOAO polities 9q 0} 
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“AUNLINAD) HLINGGLYIY AHL HO SLNTYqd AOVWT ‘AUNLINAD HLINAALAILY AHL AO SLNIUd AOVWI 


34 


No. 20. 


SMALL-PICA. 


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“AUNLINAD HLINAALAIY AHL AO SLNIYd. OVW 


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WITH 6 TO PICA LEAD 


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GEORGE BRUCE’S SON: & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 


LonG-PRimMER, No. 11. 


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“AMOLINGD HINGGLALY AHL FO SENTYqQ- FOV 


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‘AUNINGD HINGELATY AHL AO SINTXqd HOVWT 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHamMBERs-STREET, NEW-YORK. 


39 


Lone-primer, No. 13. 


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“AUOCGNGD HONDA YY CEL 40 SINIUNG AYVWT 


WITH 7 TO PICA LEADS. 
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‘AUMNINGAD HINGULATY AHL JO SINIYUG ASVAT 


GEORGE BRUCE’S SON & CO., Type-Founpers, No. 13 CHAMBERS-STREET, NEW-YORK. 


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Lona-primerR, No. 14, 


40 


‘SoSVUIE JO TOMoNpoUL oy sAoyoq odoing Jo syed 
Aueut ut remndod o1oM Yorum spared surtet~d peqyurid pue poyto 
-UdJS OJ Ul SsooVI} IvO[D puy oM YAlom-oogovrd Arevurcaperd sity 
JO ‘SSUIARISUO Jove puB Jepnst uO 9oYovad Aq ATUO pormnbov 
useq OAR plnos TIDIS sty yvyg otumsse APUepyuUoD pynod OM 
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Youu 19M SJUTId SSVUIL ot JO StoMgouuULUL oT] YwYy 9Atoored 
01 ‘(NOGT pure O9FT SIvok ot} UooMyoq pueyoH, puv AuvULIO) 
‘year ut Sumurid orypdvasodséy ur samoyeure Aq opvur syno-poom 
YIM Woy ervduros 0} ynq sey ouQ ‘eouelIedxe Yysnoryy ATWO 
pormbor wseq avy phos YOM SUTAVISUS UT T[DIS BV Jo suoTyVo 
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jo suoyonpord ysaig oyy Wood OAvYy you plnos AoyZ 4vyZ OSTL 9e8 
aM gnq ‘Aimjyueo YUSEF ot} Jo sojr~nb Asi oy Sup opvut 
QIOM YLIOUL JO SINI-POOM 4LYY OOS OM ‘SPM spassnagq pure 
ujsag oyy Jo LIOAoosIp quedsert oy} AQ posvotoUL AT[VLIEZVUL Weed 
qOU SV POOM UO SULAVISUA JO USO 9} JO sspoyMouxy nO 
MOTLULIOFOY Jol) 99 SV SoLUNod) Juvqso}oO1g 
[[@ Ul UMOUY IUOSSTP OTGVpULIOF OYJ UT 4fey Jlos} opera ‘A.mgue0 
qxou OY} UL TOM JYSnoYY Jo souepuodepur oyy Jo puv “quouspnl 


‘XUOINGD HINGE THL AO SENIUG ADVAN 


WITH 6 TO PICA LEADS. 


SOLID. 


jou prp Acq} yey} ‘poyreuter eq AvuL 
“SYOOd Ileq} HF SIosvyO 4] “WorNpYsur Teoysersepooe AUB TTA 
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woos Loy AOJ OAV [VOLO] LOPUN OATIZ OFA OTL ‘zyTBUUR PUB ULASTULOAS 


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SHOLSTJOI V JO OTB SJULIA p[O OSoy} Te Fey poolou oq P[NoYS I 


‘KUQING) HINDI THL dO SINIUG LOVWT 


GEORGE BRUCE’S SON & CO., Typn-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 


41 


14. 


LONG-PRIMER, NO. 


“‘SBUIPUIG pIfos puv yoasso.rd 
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Ayneoq oy puv toded toy} Jo ssouoqtp 
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‘eaL0ep sty} Jo woyvorqnd oy Jo eur 
oY} JOGV 10 YW opvUr oO PoAoslped ou 


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jo sjud ATqeqorid o10M pooljou oJoy SeSvUL poavIsud Ol], 


poole “sg ye Avepmgeg uo pue ‘ojoeg ‘g ye Avpsoupes, Jo Avp 
ey} uo ydooxe ‘presoroye Aqeued oy Jopun ‘sdoys uMo rey ynq 


‘SSGUVD YNIAVIG GATIONGLS GNY GHLNTYq 


WITH 7 TO PICA LEADS. 


SOLID. 


gortd royjo Aue UL OTeS IOJ SYIOM pres oy} osodxo you TTwys AyT10 
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‘SCUVO DNIAVId GHTIONALS GNV GHLNTdd - 


A 


GEORGE BRUCE’S SON & CO., TypE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


aaa 


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‘SCUVO PNIAVIG GHTIONALS GNV (CdC NANG Ree fi 


WITH 6 TO PICA LEADS. 


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‘SCUVO DNIAVIG GHTIONELG GNV GALNTAd 


rs, No. 13 CHamBers-Street, NEW-YORK. 


-FOUNDE 


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SON & CO., TyYP1 


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‘SCUVO DNIAVIG CHTIONGLG GNV GHININd 


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‘SaUVY) DNIAVIG GHTONALG GNV GHINTH 


ET, NEW-YORK. 


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GEORGE BRUCE’S SON & CO., Typr-FounpDERS, No. 13 CHAMBERS-STR 


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‘SGUVD) DNIAVIG GaTIONALS aGNVY CGWLINTaf 


WITH 6 TO PICA LEADS. 


SOLID. 


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asoy} pure ‘ayoysuns Aq poyoage A[snoLtes waeq pul] LA SepTey) JO PURE 


‘SGUVO DNIAVIG GHTIONGLY GNV GHLNTAd 


GEORGE BRUCE’S SON & CO., Typr-Founprers, No. 13 CHamBerrs-StreeT, NEW-YORK. 


45 


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‘SduUVO ONIAVIG AHTIONTLG GNV CaLNigg 


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GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAmBurs-Strent, NEW-YORK, 


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Hare an, igi 


Lone-primer, No. 19. 


46 


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-UdLOS OY} Wey} Woy? YA avpndod oaour ou ‘A;qeqoad ‘svar ‘sueLdaTToo 


L 


‘SGUVO ONIAVIG CAAIIONGLS GNV CHLNTE 


GEORGE BRUCE’S SON & CO., Type-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 


AZ 


LonG-primer, No. 19. 


; ‘Gp d ‘Guanuhugy poos, -eq Sxoquieainyy jo SOOUBUIPAO OTT, z 
uo asynaty, ‘oyeyg Aq pojonb sv “anpy MOSVM V PROT 0} YSnous sustsap 
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-jooys ‘supet-osioy Suydooxo skemypy,, ‘sdvs ‘saoyured Ayrwo Jo uvta104sTy plo oy} 
UOT}VANpowT Ur ng ‘SuTJeq pue Suryquies Gaevapurg [LYS sm sv olqeyreuoa 


poytised FgeyT pur OgeT sxvod oy] UA sB SAL UBUIUTY 4sor Jo AsNpUL oy, 7 


qJousq Jojvo1s OU pu JOTJO OM JO OOM spared ‘sdoXvtd pavo ApAeO 
jo opuyyynu oy} og, “sfoquids poyurtd to poqured jo Ayn woes 
ATuIp oy} 10; yoodsot Jo o10ul YI poatdsur wooq cary ysnut oY 
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pip ‘uosenstod Aue Aq si0}J0[ SITY Wrest 0} posnjor oavy prnoar 
OYA pue ‘MONVONp JO SaseyURAPY OY} 9OS 0} poTrey oY yey} osuop 
OS SBA OOULAOUS! OSOYAM LIMYO [VAdIpot oY, “[enJooyo ssoy oy 
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jo suvow ev ota oy} “ofdood wourmi09 oy} OF, ‘“[IAe poxrurtn 
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-SIp JO sumtoy 0} pue “surpquies 03 pe, spavo Surtvyd ySnoyypy 
‘SOILS OY} UL SurMvap Astanpo pue souTpNo 
esIvOD AOJ poysosruvM SAvATe ooUoLeford oY} LOZ yuUNODDe 0} 4YPNOgIP 
Oq P[NOA 41 yuq ‘paqoofor O1OM Soules OYYUOIOS puR OYSefoyos oy 
AYA Stosvoet of} pueysdopun AyTpvot urea oA, ‘“Ainyuod Surpoooons 
AIAN JO Spiro aefndod oy} UI UoeI,~E Joy ysourte poyeodor 
wo0q PART Splvo sutAvtd ysopfo oy} WO puNoF oq 02 ore YoryA yorl 
pue woenb ‘sury jo samsy [euoNmeam0d paey oy, ‘eouetodurt 
Aue jo oulou Weg oar, oto} pue ‘sasuey ou oAvy prnoa Ao, 
“STIQLY PUB SoLOWEA IO} UL poyoor ATdoop 910A SaIMsY pro oy} pure 
sours plo oy, ‘paezey jo ornsvord oy jo osodand ysay apy} wos 
peoAIp oq 0} soured oy} Jeyns you prnoa Aoy pue Quotmosnte toy 
qnq ‘Aj[R10W 10 ooTOIOS Gave UL UONONAYSUT IO you ‘spaeo pokey 
aidood oyy, ‘Apierndod yuotsuesy & ynq pey suORAouUT oso, 
‘yids pur [[Lys o[qea 
-TUpe TIM uMeIp ore AY} YSnowyye ‘ssoubh Kyburpoooxa am sasnbif 
ayy fo aumog “oq p[NOYS YL Sv AvopPD sv JOU SI [eLOU popuozU oT} 
jug ‘SSsoMUeyUNAp pue SSoUdTpPl JOAO SuTUIva, puke AAsNpUL JO soovyz 
UBAPV OY} SAX OPVOTMOUT OF poatOAveptA oY Jey} [etou oy, ‘sdno 
suyulp pue sjod our ‘sifeq Ssuryur sazojurtd ‘syooq poynyysqns 
oy ‘SoINS ol} JO UOYVUSIsop oy} AOZ spuourerlp pue sopeds ‘squio 
‘gyIvoy JO SUAOJ poysi[qeyso oy} Suoofoyy ‘uemsexy pur uyeyT Ur 
sosioA Aro}vUR[dxe YIM UOJ Yyooq ut poysitqud sea ors spaeo 
jo youd [ny ve ‘poarasuo sdeysod pue ‘pousisop jweuumy 4sor 


‘SCUVO ONIAVIG GHIIONTLY GNV GELNING 


TO PICA LEADS. 


a 


WITH 


[ydoyqrorg, wo 1,7] 
AMYUIY YWSITY 94) Jo pawg uvuLsEs 


[‘xX1oroe'yT wor, ] 


“AMUIY YIWIS}XIG oy Jo pavg uvuLsoy 


\ 


SNES * ee TAT 


— 


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[*xtoroery wor] 
“AIMJUOD YIWIE}XIG oY} Jo pavg uvuLIoy 


Paw ges 
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[-xtoroe’y w01,7] 


“Ainpuog YUL oy} JO parwg yous 


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GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


*. aT ence ele 
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tore sp his Aine «4 srotedi cre eh titT t's —i = ew ; 
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a ae ged 


48 


LonG-PRIMER, No. 20. 


a ee er ie 


ay} fyeay] ey} IoAo paqqnia uoy} St [eooreyo 

‘yUI pnp Jo Tq WY ‘s0RJAMs YJOous oy} Sayoyesos 

TIM Ud} J Usaq oAvY P[NOM jI sv aTq YONA Joa}s payutod wv YM UO UAs}ITIM 

-1S9y Sv SULIM ot} DYVU YOIA “[woorvYD SI Jeo] Poltp VW ‘Salpuy ysvgp ot Jo syvd 
jo suIoyZ YJIM pay ore payoyesros soovjd Auvut Ul asN UT [QS SI poyjeut SIT, 7 


Sutuayoeyq JO poyjour sayttuid autos 0} UoIsn][e ue St sy], 7 ,,SSou 
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JUIODA JADU Uv ‘sIaJOVIVYD PIAVISUD OY} UIZoR[q 0} pasn st YOryAr 
‘(Suryortq 10 asouryd) aw ouojs oY] SYV,, ‘OA OZIT SULA, svAL 
oy “BuoAA-nAA JOIodwIa oy} Jo USIE1 ay} Ul Ua} useq aAvYy 
0} pasoddns ‘yooq asourya v woy JOvxe SuIMOT[Oy ay} sojonb ay 
‘Suyuud osourya jo uonduoseap ev yy suvadoiny poystuiny oar 
ioyyne ysIy ay} sea ‘Ainjus. yYJUIEIYsI0 oy} Jo jred JoTIva oY} SuLMp 
BUIYD Ul papaary oYM ‘1ay}ey Ynsof poures], v ‘apre_ nq *Ar0}sSTY 
Moy} perpnjs savy oym ye Aq poynupe st adom@ ut asodind 
jnjesn Aue 0} pordde sem jie sty} orojoq Sunutd pasyovid ajdoad 
[equso yey, ‘“suoNe[sues poyoarod jo wu0F ay} UL payuaseid usaq 
aavy Ady} asnvoaq Aporyo ‘sola ouios Aq paMoT[esip Used. aavy 
Sunutud-yoorq jo soyovsd oy} ut Apoud soy sumtep ssoulyD oJ, 
‘UOIeINpISUOD VAIASOP YOIYM s}oRy snouno AuevU UO paseq 
aie Ady} Inq ‘aAIsnpuoD wo ey ore uorutdo sty jo woddns ut 
payuesaid suosvar ayy, “soyje80; odomay 0} }YysnoIq aIaM spivo 
Sukexd pue Suyuud-yoorq yey} st paydwejzze souesajyut ayy, “puey 
Aq Sutmerp uvry ssoooid sodevoys ve Aq ape useq Jou pey Aayy jt 
‘Aimyuso YyUseyy oy} jo Suruutsoq oy} ye oom Ady] se ‘rendod 
useq aAvy yOu prnoo spievo Surkefd yeyy sn [fey Adyy, “woy} 
Suryew jo suvow oy soy ynq ‘spreo Burke[d soy ATUO you vuUIYyD 
0} poaiqeput ore aM yey} uoruIdo 9y} Jo are s1oYyyNe JUaUTUID ANVIA| 


‘UOT sf ‘—eISY Wia\se7y JO soovi MoTToA 
ay} jo Ayiqvesuvyoun oystioyjovreyo oy wt ‘days ysay ay} ye opqvaoumu pur 
pos GUS poureutst savy asouryg oy} ‘oye Suyurd puv suynum ‘sjiv yjoq Uy 


‘sHOJOAVIT, UaUaA IYO JO ‘ojOg oorep, YSno1zy} 
adom@ 0} worsstursuery, s}t Jo sisoyjodAyy ayy," *Suyurrg-yoojq jo spouse 
uvodoimy oy} pur osouryy oy} Usaarjoq ApLIETIUIIS ***syoog asauryD jo ssaudvayy 
+++Kydeisodky, ur sonovig esouryg***Aressooou pomey orydeasojAy ayy, 
‘SuHULIg asauTyD 0} doUVApUTY ou Suravisuy jo ssuadxy -**sulpurgq jo poy 
snoliny ***Ualusserg Jo sueULIOjIog ***tedeg asoutyD ***sed4y7, toao sasvjyuvapy 
Sl] ‘**pasn Mou poyjeyy ***uoNUaAUT ssouryD ApAvyNoeg y°**Aydetsoddéy, puv 
AydesSo0[kx jo uoyeurquiog ev ‘poms paryy, + AydvasojAy jo ‘poyjayy puosas 
‘sisoyjoddzy] Sgopiql***SieyeTy JO Sutsnor) oy} ‘poyjsyy ssoutyD jsiyy *** uOTs 
-IdAIOg S}]‘** op[eET ud jo yuouraywyg **‘asouryy oy} Suowe Sunug jo 4mbyuy 


“SONILNIYd fO GOHLAW ASHNIHOD AHL 


IA 


WITH 6 TO PICA LEADS. 


SOLID. 


bL cd I “Joa ‘930 
‘uaunyjargs sap Sunigsry sap yInssag 
‘sosvumt snoid 10 spied ouvjoid opeur 
ay Joyjoya ‘azzou21u0p @ Se UMOUY SAL 
sjutd jo 1ayvut ayy, “SpA, 10 ‘souz2uwop 
sv uMOUY o1aM sjutId ysarprva oy} ‘osye 
aouviyy Ul “spuLy ye jo syutid 0} paydde 
Os[e Se OUT} JO 9SM09 UT “YOTYM P1OM B 
‘syures a]}}1[ 10 S}Utes ‘2207.57 077 10 waszoET 
jo oureu oy} Aq ‘sjornstp yucovlpe ay} pue 
‘eiqeng jo afdoad uowtuno0s oy} 0} UMOTY 
alam sjolqns patovs JO s}nd-pooAd z 


“1Sz -d 
“oa ‘apaguas aapy “UaysuIeyy = “syures 
jo samy jo Sutavisue oy} sem ‘spied Sut 
-Avjd raye Spoom uo Jaavisua ay} jo days 
jxou ayy yey} uorutdo oy} UL su ULIYUOS 
Jayj}a50} uaye} sjovposayy, “Arzu yWW99} 
-J¥ dy} JO SoUNJOA pjo Jo pus ay} 10 Sure 
-UISaq dy} UL IoyIIA paysed pue pooa uo 
poeavisua sjurd oseun Auew sorreiqy eq} 
UI petoAodsiIp otoyMAIoAS T ‘S9]v}G ULL 
-SNY 9} pue ‘eiiwarg “eiqeng ‘eruoouR. yy 
Ur sjuaAUoo AULUL Ppo}ISIA SUIARTT 7 


‘pOOM UO SIdAvIsUAa JUOUTUID AULT JO sov[dYIIIq ay} SeAL 
‘pouad r9}R] B 7e “YIM pue ‘puNoy useq aavy syud aseut snourey Jsou 
dy} YOIyM ul pLNsip v ‘AueUED UIoYNOS Jo IOAvZ ut ATpaploap ore 
Suyud fq oanjorynueu ApIeo uv JO saouaptAd ay} ynq ‘ATCT Woy spred 
jo a8SpayMouy Moy} paaap suvutiay oy} yey) efqeqord sty “paaoad 
aq JoUUIeS ‘TOWIUIOD sv ataM Sprvd aay ‘oouRIT pue uredg ut pouied 
Surpuodsai1o09 v yw aprul o1oM AY) JY, “poyst[qeysa Ayrwapo stuaas 
Aueuoy) pue Ayeyy wt Amjzuso yuaoyy oy} Jo Suruuiseq 9y} ye Sur 
-yutid-yoorq Aq ape arom Aoty yey, “We sou v Aq apew atom sprvo 
Sutteid jsarprva oy} Jey} JUoUIEZe}S v SaLINJUIO YJUIO}XIS IO YJUSIYY 
dy} Jo 1oyjne Aue jo ssuNuM oy} UI puy JOU Op aA, ‘JeAOU Jou sem 
pasn ssaooid ay} Jey} UOTLOIpUL Uv SI SpIOdII P[O 9Y} UL pouoyUsU st 
SULYLU-pIvo Jo SsoUIsNd dy} YSIYA Ul IoUUvUT ssafereD PUe FIND YT, 
,ouvu sures oy} Aq pal[ed a19M sasevull 
pue spies saovyd autos ul yey} JOVF snotmMs sy} sppe oy pue ‘saseutt 
dpeUr OSTe SprvO apeIU OYA sIdAvIsus oy} yeIY sXevs aA ‘syuLd aseuT 
dy} Joye apeu oom spreo Surdvyd yey} uorurdo sty ut ouoye ysowye 
spurys ‘AjLIOYINE JO Tay v pur Jopunoj-odAy yodxo ue Gdoypesg 
‘spied Jatprea ay} Jo sainsy sovy pue sjods ay} aavisua 0} oYv}Jopun 
Aytpear pnom ‘aydogstyD ZS BY} JO yeYI VAY YOOTT & Ind 0} ojqvun svar 
ay yey} MoUY OYM IMoyeure Sunuounsodxe oyy, ‘einyeu Jopni yonu 
e JO SCM Spied ay} Jo diysueUyIOM oY} Jey} JOpIsuoD 9A UDYA 91qGV 
-UOS¥AI SUID9S SaSvUT dy} B1OJOq Suravisue Aq ape Useq savy plnoys 
spreo oy} yey, ‘syuud a8vuut Jo souajstxe oy} Jo suonvoIpul Aue savy 
JM DOJO ISN WOUIUIOD UL 19M SpIVI JeY} JRF ay} JO UOLeIEpIsuoS 
e% WOY paAuiap st y1oddns ysoq sj pue ‘aimyoafuoo uo paseq SI JUSTH 
-dojaaap penpesS jo Ar0ay} sty], “Japso sty} ur ope sem juawaAo1d 
-UWL dU} Jey ISpapMouy urezIOO OU aAvY 9A FLY} PosseyUOd aq JsNUl 
yt ynq ‘snotuasut are suomsodoid asoy, ‘sprvo JO SPOUSNPU! [Aa ay} 
Suyovrajunos jo asodind oy} 10} poonpoajut Ayyuanbasqns o10M sjutid 
aSvurt oy} yey} pue {payuud pue poavisua o19M SYIO]q “MOTS 00} PUNOF 
SUM POYoUr sIy? UdyM yey} {splouays Aq perojoo prvaraye atom AIT} 
yey) {puey Aq pojured pue uavip orm Aay} sy ye yey} fsasevu oy} 
JIOJOq oper 9AM SpIvd 9} JY} sn [JO ;“Joolqns siyj uo ATpouresy] sou 
Ud} savy OYM asoyy, ‘Siu ssvuUt Joye IO a10Jaq epeUl eoM SpAvo 
JOYJOYA SN ]]9} JOU Op doIUa A JO ddIDap ay} UI puv AuLUTIOZ) JO SYOOd 
-UMO} PfO ut sxojUIed-p1red puL sIayeUI-prvd Jo Seojou a1svoUT oY], 

é JUaMIASNUe Ja}eaI83 YstuIMy ‘syooqd ut pourquros 
sv jaqeydye oy) Jo s19}}9] dy} JOU pyNom ‘Burusad Suo] v Sutnp spusLy 
jo Aqred v asnwe Apeais ppnoo saded jo syiq uo susts pesuvie Ayer} 
-IqIe MI} JT “soaposat yueyrodurt 0} pay vy} saumbur peonput AU, 
‘graq]oy pue taded Jo onpea ayy Jo uossey oatssordum arow v yysney Loyy 
‘gsodind pue yyZnoyj jo usu oJ, ‘ourdiostp yeyuou jo Suva v Sv 


“SGUVD ONIAVIG CGaTIONaLS aNV GaLNTdd 


GEORGE BRUCE’S SON & CO., Typn-Founprrs, No. 13 CuampBerrs-Strert, NEW-YORK. 


° 
pi ae |) OA = 


49 


LonG-PRIMER, No. 20. 


LoS +d ‘arydvssogxy np 1ns wsssy YOPIC, 1 


orydessojAx e& se pljos se opevur osam saddA} pasoduioo oy} ‘poyvon 
oS ‘jYysIay wOsIUN ev ye poindes ATULTY o1aM Ady} TQUN UONTsodwo0s 
oy} UL UMOP Woy dd10; 0} ‘sadA} ay} Jo ovy oy Uodn ynd sea 
Jourld WY ‘yos sweoeq uontsoduos ayy [YUN pajyeoy pue sovuIny v 
uo ynd sem aqeid ay} usyy, “sey}a807 osojo passord pue ‘oinpxtu 
ay} UO SOM UOM dy} UdaMjaq pao1ioy }xou o19M Av[D Jo sodA} 
sy. ‘oed-poq poredaid oy3 uo yt poorid pure ‘sjoyjered Moseu 
UL SOTIM UO YM poyy Yuud 0}, pasodoid ay osvd ayy jo oazis 
oy} JO awe INOS & Yoo} Udy} SuryD-tg ‘uo jo azxjd ev UO USOT 
pue out ‘xeM Jo oinjxiu pojour ev Sutmmod Aq pouoj sem 90vjIns 
styy, ‘woueadja yenboun jo ajyefd-paq 10 dovyins v uo Apuy saddy 
ayy suixy Aq ATUO parpawiar aq plnoo AynoysIp styy, “peyoo1s oq 
pnom qe pue ‘1aded 0} Yysiy 003 9q prfnom sioyjo ‘prepurys sq 
uey} Jasivp oq p[NoM suIOs : 194030} puv}s jou pjnom Asyy ‘osevryd 
siojuud ut “Apoq 0} se pue yysioy 07 se sIepnSoi o1oM opeUl 
os sod4y ay} Inq ‘poudsprey osoM Ady JQUN UdAO Ue UW WoT} 
ayeq 0} sem ssoooid yxou ayy, ‘sodAy afqeaow Suryeu Aqoioyy 
‘pasn Apjuenboy ysour 19M yey} siajowreyo dsoulyg oY} poAarvo 
ay saqnod opt] asayz ug ‘azis asdoid Jo saqno Suojqo apy ut 
yt ND IO papjnou pue ‘hep utepeoiod jo ajsed yoryy v opeu ysiy 
IOJUSAUL OY, ‘sIAvC Aq paquioseap sny} st ssaooid ssoym “Sulyo-d 
poweu “Yyusyoetq osouryd snowesut ue Aq ‘thor ‘a ‘Vv pozUdAUl 
sem 37 ‘Aydeisoddy pue AydesSojkx jo uoneurquios ev sem ‘uWAes 
Avwt Wt se [eorxopered ‘yoryat Spoyjour asautyD JoyjouR sea a1dU, J, 
Suyuig-yIojg fo yptig ayg pwe ‘SUnLIM 
sty Jo optums-ovy ony ve ‘sem ynsor ayy, ‘pordde sem uorssoidut 
pue ‘yoorq ey} uo prey sem soded jo yooys e& fyur YM poysniq 
}XOU OIOM Jolfal Ul SOUT] OYJ, Jorpet UL YOor wv psonpoid sny} pue 
‘saul] patoysuvs] dy} MOYS JOU pIp yey} dovjANs oy} Jo yred AroAa 
AvMe JNO Udy] OFF “saysuvs} ey ev paonpoid pey sy youn poom jo 
aovjins yJoows ve uo pW passoid pure “iaded jo yoays u9}jIM vB paue 
-durep oy ‘sainprey pue seu, Auew sayy ‘ssugua sty jo satdoo 
yorxa oinooid 0} Ajyiqeur sty Aq soynp sity jo o8reyosip oy} Wl 
posepury ATeais useq pey OYA ‘a}eJs JO JO\sIUItU JsaUTYD oy) ‘nov, 
-SU00.. OJ We ay} Jo ATAOOSIP OY} seInquyje oFF “eI UeNsUYD 
ayy jo Ammjuso yyua} oy} UL vUTyYD Ur SuQuTId-yoo]q jo uoTUdAUI 
ayy soovid ‘Axjyunod yey} UO syoog sqQenTeVA OA} JO IJOYINe pue 
‘euly) 0} Jaqystulf, Yysulg srevoA Auvut Jo; ‘stavq] siouesy uyof 1g 
yssoooid sures ayy Aq apeur oraMm yor ‘ssutM peuodurt 
ay} JO sapiwis-ory osuos ose pue ‘Ainjuso YUU oY} SuLNp papud 
pue ‘gig ‘ad ‘v uesoq yorum Ayseudp v jo s1or1oduia asoutyd IMO} jo 
spreiod oy} Areiqi sty ul pey ay yey} skvs Jopiq = ‘poyjeut Jor 
ayy Ajqeqoid sem yt Inq ‘uUOQUaAUI st JO aJep oy} XY jou soop 
29H ,Ssury} oy] Yons pue sureyunout ‘saaq} ‘sommyord ‘sydeqda ,, 10F 


‘ONILNING dO GOHLAJ ASANIHD AH,” 


WITH 7 TO PICA LEADS. 


SOLID. 


é}t Surtsreid Jo pva}sur j7V Mau oY} aqrIOs 
-op Aultg jou pip AyA\ “Jo uoMuour Aue 
SOYCUL IH SIY JO 19}LIM JoYyJO OU ynq Jovy 
UMOUY-][OM B Sv yIJo syvods Aug “sur 
yurid Jo uoTUaAUT 9} Udeq AVY plnoys 
‘Ayuraysod roy utay} paarosaid pur ‘pyro 
oplId oy} JaAO uUMOUY aia Ady} }eY} 
os way} peda yor ‘uaut perpuny 
UAAIS JO SaINJVay oY} SYOoq ur poziqry 
-xO YIM ‘UOTUAUT MoU YW ~“poureydxo 
Ajreapo usaq JOAOU Sey UOTUAAUT SIU], 


‘tr ‘deyo ‘Axxx yooq 
‘Aug  ‘quasoid 19M Ady] jr sv woyy 
aos Uv dO dIAYMAIOAD Jey} OS “PpIOAr 


‘soureu oy} ATUO JOU SYOod snoroWMU Sit 
UI SUNAISUI JO VAPI posiepUs oy} pry OYA 
‘oie A snore Aq ose pue Yoalqns ay} uo 
yooq &% peystqnd oy ‘oraory Jo pusLy 
ayy ‘snonry Aq uasoad APuatoys st pa}st 
-xo seme sey sjreajt0d 10j aac] oy} Jey, 
‘oyqnd ay jo Ayzodord ay sntues jo 
udu asa] ayeut 0} pur ‘Areiqry sty uedo 
MOIY} O} JSIY IY] SVM OYA ‘OTTTOT snMIsSWw 
0} onp st s}restod asayy Jo uoNaT[oo vB 
SuLyevul Jo vapl ayf, “1oUtoFy] Jo ysnq oq} 
url uMoyYs st ‘aydurexa sof ‘se Suonrpery Aq 
SN O} UIALIS Udoq JOU DALI YOTYA sarnjeay 
YIM Wy] JSAAUT sjoIdpr MQ “Sutary 


JABUOT OU d1B OYA 9SOY]} JO Sanjze}s a}VaID 
AapIM dy} JOAO UMOUY Woy} opvul sey oFT 
es : aM ‘SaLInjuad puv sonsvay JO ssouvystp 
“AYTTLJAOUIUAL TAL suosiad asay} peyVoyo e z Hs 
ca hy een wo. sn 0} yeads sjiuids [eyrourut ssoyAr 
sey oy ‘Asnoyeal yy spos. ay} uaae Ty 3 woe ‘ Se 
SS sosvuosiod ay} ‘ozuoiq 10 ‘19apis ‘plod 
TEA. YOIyA JYsusq vB JO IOJUDAUT 9q] SW : ; 
: entre g ur ‘satrerqiT mo ur aArasaid 0} pouto} 
“UIdY] ySuTVSe [redid Jou ppnoa sormyusd + : ; ; 
eeu al : é : -sndov Usaq JAVY AA “UONUSAUT MoU B JO 
JO OUST MU FU OS “UOFALO WO, SM sow ay} JW 0} 19dosduut aq pnoar 
-Jeadf IY} VAVS 0} POYSIM OLIVA “SUOS " By ; 94 Pl M1 


-lod snoLysn{[t poipuny udaes jo sasvurt : AUI[g Worf, SULMOTLO} 91} 
dU} “UOTUSAUT Ure}IO9 B Jo pre ayy Aq 4Qnq_ sajonb oy uorurdo sry} jo yr0ddns uy ; 


Apatys pasn sea ouojs uo Sunuud jo poyjour siyy yey} shes oprepx nq 
{SUBUIOY IY} 0} UMOUY SPA J 3LY} SAAdT[aq JopICT “spoyaut ay} Jo 
ysalpiva ay} used VAvY pTNoys 7 yyy Avs prnoys aa ‘AjTIGeqord wor 
SUIUOSVIY ‘Jolpor YSIY UL Way} IsTeI 0} SI Jt ULY} SIOIT Vy NO aBnos 
0} JoIsvd J spuy OFF 907} & JO Yreq 9y2 ut oureu sty synod oy Aoq 
dy} JO WEY] 9YI[ SLY] “SutavisSus Jo wo; ysopdums ayy st ‘uorssosduuat 
pequud ayy ut ayy reodde pmnoys Aay} yeyQ Os ‘sory ay} INO BuryAnd Jo 
poyoU sIUT, “Yovyq pros Jo pjey v UO IY Ul UBIsap 10 SUYLIA oy} JO 
Joded ayy uo souesrvadde ay} ‘sem qnsor oy, “woye} sea uorssordut 
ue pure ‘au0js dy} UO pret sea Jaded ‘payur sea oovyins ayy, ‘“ssad0id 
aje[d-1addoo ay} ut auOp Mou ore Ady} Sv ‘a0vJINS dy] MOTAq yNd 10 no 
{ND Udy} dM soul] poLoysuedy yoryq oyy, “yo payeod seam saded oy} 
‘QUOJS OY} UO Jos ATWUIY IIOM USISAP IO SUNIM JY} JO soul, yoryq oy} 
UI[M, ‘9UOJS JO QvIS BV JO JOVJANS YJOOUIS IY} O} WOILIM SVAL FL OTA 
uodn sasded oy} woy oimssoid Aq posiajsuesz} sea “YUL YA JOA T[OS 
SVM WL opty ‘Spoquud oq 0} UBIsop Io SuQUM OY], ,,pury repnoysed 
pue aodoid & Jo au0js,, Jo sayqe} uo ynq ‘syoo;Tq poom uo ATUO Jou 
poqutid ssouryg oy) yey sXes ape nq “quowdojaaop sj 0} poy aAvy 
Avwt pt yng ‘Suyuud jou sv siojovivyo Surusyoryq jo soyovid ay, 
“AINJUIS JSIY 9Y} Bouts JO ,‘sread pap 
-UNY U99}XIS IOJ We Sty} JO 9sn opeU Avy asauTYD ay} ‘syood May} 0} 
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yey} Yyoutsas pt “Suynuud uy,, ‘uoynes onp yA ‘shes aFZ “JUNTII}e}S 
STU} JUBIIVM JOU OP SPpIOM Spe] NC] “‘pousiar uowoyos pur 9301 
IOWIOFT I1OJoq ‘papunoy sem IwUOY o10Jaq ‘AOL, JO a8ars ay} soye sTe9A 
Moy VIN vUIYD Ul pozUdauT sem Suyutid yey} aadrpoq 0} savy pynoys 
aM Juoattazeys sty} yda00"8 pfnoo aM JT "eID ULSLIYD ayy o10Jaq s1VoA 
porpuny udasja vuryd ut pasyovid sem Suyuud yey} uoMresse 94} 
IO JueIIVA v se sIOyne AUeUT Aq pasn UdEq sey HOA “SUIALIBUA JO. 
Aymbyue syy Moys 0} ATUO 3 pajonb ape nq = ‘Suyuid jo uoysessns 
ou pue ‘yur Sunuud jo uoyuswt ou st o19yy, “ATUO Surusyor[q pue 
SUIAVISUD O} UOISH][Y uv Sty yng ‘spreAdAvis pue sayomnyo ul sauo}s 
yeuoulsw wo suoyduUOsUI 9} UL PpdaArOsqoO ]]YS SI Yor pPOYJoW B ST 
I= Tqusay ar0w Woy} Suryeut jo asodind ay} 10j ‘s1ajoereyo pastout 


eet ‘ONILNING JO GOHIAW ISANIHD GH 


'» 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


aur. > irieain, ae 
7 “i TORIC. WE, By 


uv; 


+ 997 rar 


= 26 


meen 
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4° 3am 
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by ie 


SS ee 


BourGeors, No. 11. 


50 


a MY, bring er fillet 


‘sjotydured peMos uvodor oseuTyQ Yor} B OU aOJod eARY Tz 
iy 0 UBoLIeULy Fo yeYy 07 LoL1edns Youur “‘syooqd esouryy 
St Surpurq styj ‘souetueATOD pue AjyIq aoz posn aoded og jo Aqyenb oy guoser 
-Txop ‘350.448 Jo syurod Teyuosso oyy uy -dot ATALeF [LM SYTIS OSOULYH PUR soyoR.O 
‘op As STG UL punod st yor gopydured -oay punoae sioddvim poyuy-juq eqyy 7 


SI OSRNSUL] Ud}JTIM Moy, ‘o[qvuosvetun soyYe00z[V Jyou st curated 
-YooTq 1oZ osouryyH oy Jo .cousstejord oy} ynq ‘4reay TeyUETIO ont 
B® St ‘spoyjout peaordut jo yoop.dou ut ‘sesesn plo 0} soue.toypVy 
‘saRyop oay-Azaty} Jnoqe 
4800 P[NOM YIOX-MEeN UL pooM UO JoABtsoU yuojodutoo vB Aq oovd 
ous oy} JO UOT [NJorvo VB fs}ueD oAT-A}LOF ynoqe eq pTNoA 
‘9.0ed SULMOT[OF OY} WO O[LULIS-OVF OY} JO ozIS oy} 901M} ynoqe ‘asd 
[OF VB Sutawstous jo ‘eurygQ ul 4soo oY, “SyooTq Woepoom poarrsud 
WOIf OUOP 4RY} OF LOLLeFUL st ‘pogoodxo oq yystut sv ‘ytoMsserd OT, 
‘poom Uy} pojyuepur 10 poavtous Apponb o«tour oq Weo Yorum ‘xRAL 
prey Jo uowsoduros vw wor pojutid st ‘frounod yetoues sty Jo saoded 
pue scurpaessoid oy} pue ao1edute oy} Jo Step1o oy jo Apotyo dn 
epeur st yorrm ‘teded siyy, ‘soLmyuoo a0y subjeg ut peyutd weeq 
sey ‘ayazny buyag eyy se syuopiser uvodomy 07 uMouy ‘aodedsmou 
Atiep y ‘suyutd jo yueudopaep proarq AtoA B 0} odURIpUTy OU 
st puv ‘asouryy Surppord pur yuoyed oy} Aq AYYSTT nq pouteszso st 
‘pTLO MA UWoysSe AA OUY UL AQTMoWJIp ofqerednsut ue se pepaRdat aq PTO 
Por ‘“YIOM ALoAe LOZ SYooTG oyeavdoes suravisua JO soqe, OYJ, 
{USL puodsoq ysouyR 
ore YOM SseuUyonoOOy] puR ssetjyVoM V YIM VUIYO UL ouUOp St 4 
‘Aqotrtdoard Jo spaepuejs imo 0} Woes ABUL SUIPUIG JO poyjo Sty} sev 
Asunyy ‘euop SI SUITOIYS oYy YOM Tono«yy Sooq ayy Fo yorq oy 
ale Saspa ynd oy “Oo oy} JO aope 1eyno oY} oepevUL St prof oy} pue 
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suyud jo ssesoid oy ‘1eded eseuryy 10; poynyysqns otom saoded 
yooq uvolomy jl yyUl pp jo yueqatosqe yomb vw pur ‘otqeid 


‘ONLINIUG LO COHLAY, ASUNIHO WHY, 


WITH 6 TO PICA LEADS. 


SOLID. 


Yono, oy} 0} wepnorpucdaed ‘suum: c 
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syoo,q suyurid «cof posn Auonbesqns yey OI] SBAL suyurad Jo poyjoeur 
ayy, ‘ouurid toy Apvot UST] SBA ULLOF OY], ‘oqepd oddyoo.048 B LO YOOTO 


‘ONIGNIUG JO GOHLAY, ASANIHD AA, 


GEORGE BRUCE’S SON & CO., Typr-FounpmErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


Bourceors, No. 11. 


POL d Bung fo mpadophouy uonwup, -areydixe oq youes ‘Auoumue pure uty “proy 
‘sootqeut toddoo ur to ‘oddox peatozord szopumoj-od4y uvedoimpy WetLAr 
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Tg osed uo ojou v ur poure[dxe 1o.Lto oy} 0} pp’ pmmoys ‘surpunos-od4y Ur sanoyRuTE 
jo uoyyoeder ev “tue se 4 OoUL UR OOM OTA ‘SoLIBUOISsTUL yIMsee oy} ATLA 
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[eULst10 ey Jo Adoo vw puy youukrs T “pa -sodAq4 osouryy Jo uoydLosep sity Oy, 7 


jou OAR osouTYyy oy} Jy ‘s}yueo uo} 10 YYdLto Jo yuefeambo oyy 
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pue ssoudvoyo yeors sqyt tof poatojord oq ysnta suyuLtd Jo poyjout 
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og ‘Aydeiso[Ax Aq ‘ouop Mou st 4t sv ‘ouop Ueeq sey yao pozyuttd 
esouryy JO yauvd ysosrey oy} “re oY} JO WOUSAUT ALoY] OOUIS TOATT 
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jo sodAy oyqvaout yorya ut ‘eoyjo surnutd y  ;‘soumpoa oAy-AjUeAOS 
ut sajdoag uhwaiog fo hwo oy} pue ‘seunjoa Ayysto ut abynbuny 
asauiyy ay fo hoy oy ‘soumnpoa AjxIs ul sesnpy fo hwopsi oy 
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pue ‘seddy jo yoaves ut shoe Ysnory} Surypea out sty Fo woy 
-lod ysasarvl oy} oysea ATGeploavun plnomM oy fsosvo porpuny vay Aq 
petdndss0 WoO 94} poset PMO AOZISOduIOD osouIyD) oY} ‘sp1OM oqo 
uy ‘peamboe.t oq prnom soyput arenbs Qgg‘ngg Jo Bore UK SULIOAOD soseoD 
‘sTojyoRIRYD BSOULYD OOO‘OS OF eptaocad oF, ‘stojowreyo Jo cequunu yy 
UI PUB 9SVD JO OZIS OY} UL OSRELOUL UR YIM Sesvatoop 1ozIsoduLo9 oy} Fo 
souvmItojlod oy, ‘osvo ey} JO vole oYy Sutonper Aq posvodoul Youut 
eq plnom aoztsodu0s oy} Jo poods oy} yey pue ‘acue, 003 st oseo 
uvoLloUTy oy} yey Avs sunjes-0d4y ur sytedxe ynq fsoyour oarenbs 


“DNIONTYUd fO GOHLAY, AWSANIHO WHY, 


TO PICA LEADS 


7 


WITH 


QgNT Jo Bare UR SULIAAOD pu ‘SAoJORIVyYO FET TOF Soxoq YIM sosvo 
uLoay sodAy syord topsodu0a WeOLIOULY OU, -kar0u090 Hues PoTpasy 0G 
poyisseypo oq you poo Aoyy ? POYOOTTOAO @q 04 {RAIS 00} oav ‘ocRyTRAPR 
TIM opeur oq prnoo Aoyy Jr ‘sod4y Sursn Jo AvM OY} UT SeNTMOYFIp oy, 
‘soround pu some AweUL 
jo WoYONaAysep oy} potmbo. 4r LOZ ‘SnoLaqgo st ssoooad oy} Jo UoMoozAoduat 
oY, “SCULUROUE JUA.LOTIp B 
UY} OARS TOI ‘Sopeue 
10 ‘sourt ‘syop jo syuttd 
ayeredos oy} Aq po.tez[e 
SeumTeuOS atom ‘soyound 
asoyy} Jo syuttd oy} poatoo 
-at pey Ao} araqye ‘ospe 
‘SooLRI oy,  “S1ajoV 
-IBYD MOU ULLOF 07 pa.toy 
-[e ot9M Soyound plo oyy 
‘seuly 10 oul, B IFO SuyNo 
IO SUIeLLOYS AG “WET 
UWLOAT 4Svd UVdq pry sedAy 
jo Ayyquenb yuotys vB 


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TO JNO o.toM Soyound ot, 
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‘Atqeqoad ‘sey ‘stojovavyo youystp Qoo‘ep tof seddy popunoy Torpar 
‘SuIB_ Je oof SUNULIG [RUONRN ey} OF peyoryye Arpunoj-odAq oy, 


(samqsqytg JO suay}NpL WE Uo “ap, Aq poysruam,y ] 
‘uopuory ur epepy soddAy, osauryy) 


med ei ail 


‘yoog ssourgy vB WoOIy oseg wv Jo 4aed Fo oprug-oxy 


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PRE: 


‘orrdurgy, esoUTD et puotog pojdurezye Wed LaANU SvY, WOTDeT[OD 
eqoTdu09 B qnq ‘spdoM JO Joqummu poytunyt v SuLIMbat syood toyyO LOZ 
pure Yuourejsey, MeN oy} Suyutd roz StopoRrvyD osouryy Jo JUSUT}.LOSSe 
ue dn opem oary ‘sou snomea ye ‘stepunoj-odéq uvodommpp *stoqor 
“Tey O80q} [Te 10F soyound ynd 07 ‘esuodxe syt Jo wosvaa Aq ‘oyquoyoead 
-UIT ST 4 ‘QOO‘OFS 4B Stoyjo Aq pur ‘QQ0‘D8 4B oULOS Aq poyeUTTyse ‘spzOAL 
esoyy Jo AuUVUE yvors v SuTe}UOO AIVNGBIOA IY] SY ‘“SB¥EPT IO SpaodAr 
ayotduios yuosoadex Aoyy {spunos co stozjo] LOT pURIS JOU Op SIejORIRTLD 
esouryy) ‘sodA Jo yuetmACTdura oY] 0} ofoRysqo o[qeJUNOULMSULT JSOUTS UB 


‘ONTLNING 10 GOHLAY ASANIHD AH, 


N & CO., TypE-FoUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


RK 


GEORGE BRUCE’S 


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Bourauors, No. 13. 


popurid oo. ‘Amy 
-199 TFTOAMY OT FO Sspood FdLIOSNUBUL WRUL 
~104) UL PUNOF WoO ALT TOMA JoJoVaerpo 
OY, FO SpeIptar oy yey sA'ws (gy d Swnaanwh 


-alquriad aT ) YAVAVSSVT “VT[VA BT[Ep 9IpC_ 
DYSVISOTODO OY} SB THT SoqlLiosep Zzuery 
‘quopnys sq} ourem jou seop uoTtdeg 
“yr ‘91, ‘Ad ‘7 “Toa ‘s10g wa aunanwh ») ap 
anbynad ya anbriwojpsryy ayvony, worded, 


jo sornovrd A[Sury oy Jo uoNRUMT ur ‘Pros puv simgvusts Jo osodind 
a[qnop oy} SATOS 0} opvUE Wood AV 0} Woes Yor ‘Soleo Jo 
SUIVISOUOUT IO SOIMYVUSIS powULIg “ArMyuUed YOM} oyy JO syuoumMIOp 
ULTTLIT UO pinoy seq OS[R OAV POOM WO SSUTAVISUO TOI, STOIS 
-sordtuit JO SopLVTpHoed [worURTPoUT oY TTB MOYS Yop soamgvusig 
‘poqurid Apure7109 o1OM STRTUL oT yey pres ‘s}1w ou 
uve, JO ULEIOYSTY oY} ‘IzuUVTT fsyno-pooM Jo suOIssoIdtUT oY} SV 
S10}}0[ poptepuL oy} poydeooe ‘poom uo ToAvAsUe Peoyovad v ‘uoTTId 
-Vq “quouryored oy} UL TONRyUepUL parvy Jo syrvur oy} poamoys Aoyy 
Ioy ‘Surproueys Aq poonpord uooq oavy you prhoo yor Agrterpnood wv 
pey oy gngq ‘19940, Jopour vw Wor Uoyr? soupvy Aq 10 “SuTTP 
-uoys AQ opvUr o10M STRHTUL oy yeyy pres Aoyy, ‘potted Jerre 
Uv 4B sUOp Teesq IALT plnoo yur WIM suyuLd yey} yrorpe you prnos 
Suynund yo ATAOOSIP YSIpurproyeN Vv IO uvuLIox) V ‘osoUIT vB Jo 
SOLIOOY} POPLOOAPL PLY OA SLoyNy “ApPNpotoUr PIM stoydecsorqiq 
ey Aq poatooor sea ‘uoUeAUT posoddns s}t 9Lofoq SoLmMyudd 9e1t[y 
postprvid seq pry Suyurid jo poyjout opni v 4Vyy JUoUTIILYS OTL], 
‘SuUIMVIpP AQ OpvUL Wedd DART, 
JOU POs Yor s1oyeT oy} Jo Sodvys oy} UL AZTUITOFTUN B SsVAL 9.LOT]Z 
qvyy Peaord SVM 4] “JWOUOYVIS [RULSLIO 9} PoULIGMOS YoUpM JO yNse.t 
oy} ‘SUONVUTUIVXS ILLUS oyeUL 0} SuOS1od JeYJO poonpuL ATOAODSTP 
Sty} JO JuoursotnOTUY oy, ‘sdurjs poavtoue Aq poonpord twoeq pry 
AYMUTIOFIUN SITY JVYY UWOIsSNpPUuo. 9y} potovol oF{ “ULIOZ otuVS 9} JO 
sum ‘yooq ommes oT} Ur poywodet U9zJO TaADMOT IO PUNOF JOAVIOYAL 
‘ayjoT TeyUOTIVUIO Tey “Lingus YUM oy} sv ATIVI Se opvUT Woe 
pey Gory Jo ouros ,‘sydiosnurur plo AULUL UL S1e}oT [BYTUL oy} Jo 
APULIOFTUN OSUBIYS OY} 0} SLOYAR.ALSOT[GIqQ JO UOTWI}AV OY} poT[es syood 
ULTTRIT PjO Jo guepnys wv ‘KmyzuUeo YQUVEVMOAES 9} JO SuLUUTSeq 9 LY 


‘fayo—oqeqoad 
Tle 9B VoNVAdosoard TOY] Lopusr 07 Sv TONS JOU OIA J.B JO SYIOM SB S}LIOUL ITO], 
‘punof oq 0 Jou 9rB souMTy ATWO osOy] JO SUIAISUD POOM Jo suoUTtoOds oTTOTy 


-ne geyy Suyund jo Aymbyue oy} ysurese quoumsie Ssuosys 10 Joord Aue 41 st ION 


‘10 quid 09 Suryjou pey storavasugy Ayre *** 9." N 
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‘XIVLI AO ONIINIGd ATYVA AML 
TTA 


WITH 6 TO PICA LEADS. 


SOLID. 


‘ONTVA TVULSLIO ITE} 
JO J[VY-OUWO INQ, TPIAOA 9.1 S0}OU OY} OUITY 
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Sul ope IOy] 9vyY snoraqo st 41 Suyurrd wos sowed 4VoIs PIALIop 


‘ONIENING JO GOHLAWY ASANIHD GH, 


GEORGE BRUCE’S SON & O., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 


53 


Boureeors, No. 13. 


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‘UMOIG ASUIP MOT St 4nq 
‘yor[q useq savy AvuL YPOUpEM ‘yur SULLA pmpy B YIM poqurtd oz0mA 


‘KIVI[ GO ONIGNING AIUVY DH, .- : 


TO PICA LEAD 


7 


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“XIVIT &4O DNILNING ATYVY AHI, 


GEORGE BRUCE’S SON & CO., TypE-FoUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


See 


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TOPISUOD OAL WOT O][GBUOSBO.L Toes STOIS 


BourGeors, No. 14. 


54 


ore ‘znz wuouds WRULIOH s}t pure ‘zvuyo -nyouoo sty “suguyd Aq OpvuUt ota. SURIY 
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‘KIVIT £0 DNIINIUG ATAVY AHL 


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WITH 6 TO PICA LEAD 
SOLID. 


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‘TdOUNA NI WAdVd AO NOLLOAGOULNI CHENG 


IIA 


GEORGE BRUCE’S SON & CO., Typr-FounprrRs, No. 13 Cuampers-Street, NEW-YORK. 


57 


Bourceors, No. 15. 


*QSRpP1OD PUL OY 
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‘adOUOW NI UtdVq JO NOIONGOULINT AH, 


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BourGeors, No. 16. 


58 


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“‘AdOUNW NI UtdVq JO NOLLONGOUMINY AH, 


WITH 6 TO PICA LEADS. 


SOLID. 


‘g ‘deyp ‘adompy o1doosorrmlt Jo ssuravisue soy ‘gze “d Ber 


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i 


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Ml 


‘TdOUNY NI UdtdVq JO NOLLOAGOULNT ABT, 


GEORGE BRUCE’S SON & CO., Typr-FounprErRs, No, 13 CHamBERS-STREET, NEW-YORK. 


59 


BourGeois, No. 16. 


“oqnqys 
-qns oy} postdsop pue umyfea pottey 
-o1d Loy} roy ‘systXdoo peuotssepoad 
ayy Aq posh wooq OAV JOU PTO qT 
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TeYS OM. ‘SoLmMy199 TOF SUITE TOEq, 
pey Sunud-yoorq jo pue suryeut 
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sta{nq-yoog puke Siepver Jo ssepo 
poyeor ATMou stqy Aq Ammy1109 YYTIE} 
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asn [e1oqiT etou oyy, “coded jo om 
-PORINUVUL OY} 0} JUOUTESBIM0NTIO VALS 
oy wout oy} 10M systidoo yeuoTs 
-sejordun pue yLsneq-jpes yey, pue 
‘Suyutd Jo osn popte}xe opvut ysay 
OYM Wout oY} o1oM syd oSvuIt jo 
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008 [[BYS 9A “WOISNPIUOD 4waLEyIp 
GB 0} prot [LM sioydeyo Surpossons 
UL poyuoseid oq 0} Jnoqe sory OUT, 


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Mou atv ‘uNTfea Jo Toyerederd Aue 
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poyLys pue uouraoed yrou Aq. poarozord 
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-£doo ayy £q postdsoep ATHAvey os saod 
-ed opeut-puey ysnor oyy, “ooyou 
Sutssed jo Ayj10M ore scoded Sayin 
JO TOTPETOS OY} UL WOTTSLF Jo sosuvyp 
ayy, ‘stoyeut uvodornny Aprea ayy ‘Aq 
enced 4SvoT 4B 10 £0} TMOTYUN 
svar ‘suersiag oy} Aq posyorid wot} 
SVM TOA ‘oovpzins Assops ‘yZoours ¥B 
jo o10M ALoyy TQun szoded Surystpod 


‘adOUNY NI UtdVG IO NOWLOAGOMLNE aH; 


WITH 7 TO PICA LEADS. 


SOLID. 


Io Suropuceyes jo ye oy, “ysnor 
00] SVM dORFINS OY} pue ory 003 
seat OLIG ey OY} ESNVDEq SysLtdos oy Aq 
OPISe JOS SVAL FT YN ‘oodop yoy e@ UL 
Ayypiqeinp pure AyyIqrxop ‘yysueays Jo 
syueut oy} pey ‘aoded woul se TAOTLYy 
mou ‘toded go Ayypenb 1903}0q OUT, 
‘powod torpave we Jo yy 0} yenbo pu 
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o} PAnEX pue vouETeA JO SIOWeUT 
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10}09 To ynd oq prnoys yeyy syueuIM 
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Xkq oetop & oprvut ‘toded peq utoay 
OSTIV JULGIUL IVY} S[LAO Suroosa.Loy ‘TTT. 
reok oy} ut ‘AuvuULIay JO TI YoLopod yy 
“POLO TOFAO}UL [VMOUIUMIIAOS Poot 0} SV 
opeut ATpeq os uoeq OAR O} SuOS 
Y= eTqvuonselqo ATyemedso sv 
‘yaded u0j}00 sv wMouy tory ‘Aqrpenb 
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-uvuiuod peymoueusro jo Avydstp oy 
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‘osvoo YOTY] SAL IT LOF ‘OTGRUOSKaTTN. 
Joyjosoyye you svar oorpnload wo y, 
‘syst{doo yqyim azepndod ye ye you 
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“4SOT ATQBAOLOLIT ST STUUVOUL SIT 
yey yo poqqnaos ATYSnoLOY] OS Woeq 
SVY SULLA 4SI Ot} SooTRISUT 9UTOS 
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ou yey aed oS OINYeU VB JO Sour 
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puv Aynvaq ywaas Jo usyo “yout 4se 
mS ay} Jo SyLOM Jo puv ‘pyyT oy Jo 
‘sjadsoxy or} Jo a Gposnie croded 
jo Ayn ay} moys Aoyy “yaoum. we Xq 
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oY} SULIMP SIaYVUI-YyoOod 10 S.1o} LIA 
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oqud arodomny acre] oy} [Py ‘S}s8es 
-dunqed sv wMouy Mou are poyvo.d) OS 
sydLiosnuryy ‘outt} pwodes ot} ado 
TOLIM oq prnos yuourypaed oy] yey 
JOUNSIPUL OS II opvUT yuq ‘SUNLIM oy 
oyeroyTqo AjTeryue You prp yueuryRe.L] 
SI, ‘“ouoys-oortnd YM yt surgqna 
Aq pus LOYNTOS oUTTVY[V YVoM VB YL 
queued ayy spe te Aq poysttd 
-ULODIE SVM YUL SI] SuLVYo JO YOM 
ey, “jyuourypaed oy} oyerjoued 10 ut 
aqtq you prp yt puw ‘Ay.1odoad snot 
oT oof B ng pey yt farvsouta pu ‘ums 
‘yortq-durey jo opeur ATPeusn svi pasn 
Toy} YUL Sum oy, “yse} JTMOYyIP & 


"eg ‘o08 ‘I ‘deyo 
‘sab appr a7 Ur adoungy LO IMNQDIAVT 
DOUVTUVATOD [exons OF pilV9 Oy] Youur 


004 sdvyazod ysnory ‘omospuvy put 3u0.1s 
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qsor[Tea OY} FU) Peppt oq 0} SLT “potoAaoa 
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jo souvytodur ysva oy, “yooyyo oyygty AwoA 
pey oauy god su pro 4r soouars oy} Jo 
Apnys oy} uodg “Arn 199 TWa9}MOF ayy 
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usad ‘aodud ueuy 10 ‘ysysugy 10 suweur 
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ur Ayfetoedse puv ‘pasu Apsurreds Ara sBAt 
‘poyUdATIAOADIOY AM 10 LOAUOITA “odug y 


jou SBM qT ‘s}dnosnuvur pouteejso 
APYST pur po wo SuyLwM oy Surry 
jo juotpedxe oyerodsop oy} 0} pot0s 
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ad1ROS OS SVAL JOUTyOIV “mod oyLUr 
0} Surgjoutos of puvutop poysyesun 
UB ‘PABMAIR SOLMYUII 9dI) JSVOT YV 
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posves ‘Kinjuos yyWAeS ey ut Avoop 
jo oyeys @ Ut Svar Your ‘sutided jo 
amprnueut ueydésy oy, “poepeow 
AOIOS SVM YT “WOTNTASOVAL LOF LBA OF 
pey pus out} s}t oLofoq ourvo sodeg 
ySyood 1oF ATRAT 
UL posn Yount yr sv AON *Aanguoeod 
Y}U99}. MOF OY} FO puto oy [yUN ‘owe YT 


Jo Yo, oy} ur sdeyazod pure ‘Apex 10 


uredg ut ydooxe “uonboay 10 PRtoues 
suvout ou Aq svar toded 10x09 styy Pg 
asn omy yuyy skes ueTpR_L  “pozrudo 
-dat SVM AZTTHN SpE otojoq stead ATBUT 
toy odommgy ur wMOUYy ATUIR}I00 SBA 
suoovieg ay} fq epvut oouo roded 104 
-109 OYI[-pavo op], ‘“Syooq eaisuedxe 
ysour oy} oF ATWO posh oq ppnod yt ywYy 
ADIBOS OS SVAL JL WOT TOAd ‘TO SUTPLUM 
LO YE oouRysqns ApUO oy sv ystAdoo 
oy} Aq poplRsot SVM UINITaA  *“a0pe 
-[ MOU LOJ asap OY] OF WRT a.cou Lan 
-xnqy fo yids oy} 0} yUoTAIOsqns opeut 
SVM postorad TOY} SBA JT SB STDyRUt 
-yooq jo ye OUT, _“synsex Jo wore 
OS sv suryeurt-itoded Jo ospopmouy 
teodornyy tories oy) yyy osn aodoad 
0} aoded ynd 01 woytsodstp jo yort 
pur ApyIqe Jo your yy oF APoryoO SVAr 
{I ‘OSH1oxXe JURISUOD UT poyyoUt sty 
qdoy yey) UOYezTTLA pue ecnjyno wv 
‘ueyroduit o10ur SVAN yeTLA pie ‘oded 
Suryeut Jo porjour porordu we ynq 
LONUMIAUT ALOT Ajempue 9 we you ATIOTG 
pue uredg 0} yysnorq SOOT, OUT, 
‘stqru-aoded ystooy, Jo 
JUOTUTYST[GeISe oy} aLojoq Suoy odoin 
TIOYNOY Ul Jo}xXe VULOS 0} pasyorad 
pur UMOUY Meeq dALY 0} SuIoes syueTd 


GEORGE BRUCE’S SON & CO., Tyre-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 


ees : 
q uf qd’ tna 4 fol rer Hf 
oe) Sie mee 


LE beng ta Dias 
ie atiine Bhp} ay vee path thualt Hevaitnarra iH “+ _a ’ oer ° er , 
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enated ory ae 


Oe - fa’ eae 0 oviy ath? ‘vem 
=i) ee — a Ly a tite,” A104 ub 


acral : r aR vies Tea 


Bourgeois, No. 20. 


60 


ee ye Me OE ere 


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jo Adoo v ayevur 0} pot oy WY} SAvs ‘STAT 
jo yoog snowy oy} Jo uondtosap jm v UL 


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puvjaiy ut uonsszied ve paureyye pry ‘sjed 
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“PHO pozi[LAlo oy} Jo syed ayjo [[e Jo yey} 


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pue paysiqeise usoq pey ye jo apAqs v ‘Am 
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pue ATVI] ULIOUNXe JsoW[e Useq BAvY O} pres 
aq Avut sre ouy oy} UsYyM potted & 1V 7 


[-xto1eT wor7] 


“unt10}d1198 9y J, 


*SI9}JO[ TOF 94SV} OY} POATAOI SOLIBUOTSSTUL 
aso, ‘“SoLInjUID YVUIU PU YIXIS dy} UDdMjJOq VUOCT WO JUSS d1OM Sore 
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pearasaid qs o1e ‘systXdoo ysuy uMouyUN Aq usa ,Aqeiupe ‘Ayneeq 
years Jo syoog ‘a[AJs uoxeS oY} Se poqliosop pue UMOUY MOU UOTYSEy 
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‘purpsuy Ul Solio}seuoUL pue sTooYyIs papuNo} sorreuorsstut ysiy ‘odor 
ny UloysaMA JO UONeZITIAIO SuluvM pue UOTsijar poydn1z109 oY} 0} onyTeA 
years jo sem 7 ynq ‘puepsiy 0} yYoUsq juoUvUTIOd Aue jo SeM PvUOT je 
SYUOUL OY} Jo dOUAaSTTIp oy} yey) Ieadde you soop yy = “drysuewry10M jo 


‘SHOW WIGAIIN AHL AO SYANV-MOOT AHL 


WITH 6 TO PICA LEADS. 


SOLID 


‘uowy ‘papuodsar APs unin 
-un ‘joaTeIp ay} puelsiopun jou pip oyM 
‘Aueduros ay} Yor 0} , [Aap au 0} Sapreo 
as[ey ay] yfe,, Surysrm Aq ‘Yystpsugq-Yyo}09S 
ur papnpouos A[yS97 doysiq poytaoucosip 
ayy, ‘surysne, wo uresyer you pnos 
s[euIpres ay] pue ssouljoy siy yey} ‘sovI5 
SUIALS SUM OY USYM UNLT SIY Ul patapuntq 
os doysiq ay} ‘puepoog wo aiese_ peded 
ayy ‘Aesinypy Jo doysiq ayy Aq ‘Ainquso sures 
ay} Suump ‘awoy J UdALs JUBUTUTe}I0]Ua 


wIyyogoiaut plOM YT, ‘“UOWeINISUOD STY 
ye otdoad sty tof ua s[[nq sy} pear jou 
pjnoo ay 3ey) ‘Surpvel ye yaadxour OS seM ae 
‘of€1 ul weyinq jo doysig spew ‘uewelqou G 

youary oeViey][I ue uUoUMBEg SIMOT _ 


sourSaje poquapasaidun yim ‘puepory ut poreodde-ai ‘s1o1sduta o4sepoouoor 
ayy jo AytpHsoy oy Aq ofdounuejsuog jo yno Usatip useq pey YoryM pue 
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‘O}LIM JOU p[noos oY o10w AuvUT pue ,“peat Oo} 
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ut Aue otaM a1oy} nq ‘une Apnys 0} ‘uortsod sy} Jo anya Aq ‘posnbar 
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puv suouvo ay} jo ‘sainjdiog ay} Jo a8enSury oy} Useq Jou pey osensury 
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ay} otam Aydosorryd yeotskydejour pue ASopooy} oNsepoyoS  “pajoojsou 
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asensury peap oy} Ul JOU seM yey} oWeU dy} Jo AYIIOM dINJeIO}] OU SeAL 
diy} potiod sty} BuLinq ‘sfooyss ay} IYsne} pure ‘sotierqy oy} doy ‘syooq 
ay} ajoim AoYT, ‘aspapmouy oysepoyys jo shay ay} [Je pfey Yyoinyo ojoyyeD 
ULUIOY aq} JO soysvisapooa ayy ‘Ainjusd YUIINYI dy} 0} YIXIS sy} WOUA 


“U0p,9YS—" UN AIM SB 
aud] Joyo ATOAS WUMOTesOW WUNINe YMA 
faudys pip Siopioq ay} sajounqreyo pue sisseleq YI 
‘apunod apuvsnoy) & YOM ota suOAT[ING pue sidsvjo ayy, 
Saud nassn jo plos YIM Jono apsenosuy] 
‘gpunoq pue pXyosAuiws sv }I MOY apjoyeq OT, 
‘Kjayas ygSAI oq pvy IY} VOY ULW v spe oNvY SplOM IT 
‘ Apymb pur pryoao} [joa sramjord pmAnugy 
{siAvus AWATS puev SLIMOYE YM puogug 
‘stje1 ayooed oysory pure sixyayng Wat 
‘sidsem puv saddossais yt primjoidus ‘asdq puy 
safe paplos yA [je prudumyl sea Jussieu ay, 


: stdsvjo ay} o1aM apuaso] exo ay} JO IYI WM 


“Sunuug jo quowudopasd oy} pepiejor 
syoog oarsuadxsy Io ssaupuoy***yWapy Jo syoog 10} pred seomg ys ***owysed 
Ajooullg & Suyoa[[od-yoog ***syoog snowmmxn’y si °°“ aMye1ow'y] VuBWOY It} JO asry 
‘syoog 1OMajuy 10y A[UO peasy Jedeg***suopeiasiqqy JO asp) [B1oUeD *~ *SoInjold JO 
uonemooiddy Tesioalug ***syoog yeaarpeyy jo rayoereyD “**sistXdody ynoqe slreq Jo 
AysIaAtuA) ayy Jo suonLnsoy *~* Ayre7T oy] Suowe readde sioyeyy-yoog pur s}stidog 
‘syuoyy Aq Sutsdog pue syoog jo JoajsaN“**‘syoog jo uoneyUsWIVUIQ, asnjol 
“sIapulqyoog *** syoog jo sioyeurumy]y] ***s}stAdo_D jo siolig ** "SatiajsBuoy JO SUNT 
-o}duog aly," OMA Tey pue souvry jo systXdog *** Aoyog Teuonvonpy suse 
-9pieyD ** puepery up’ **ejdounurjsuodg ur systfdoD ***sioxeyyjoog puv sivpoyoS 
Ajuo ay} sonseisapoy*** une] ul syoog Ty" ** qoinyD 9y} Aq pal[onuos uolvonpay 


GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHampers-StrEET, NEW-YORK. 


‘SHDV AIGCGIN AHL AO SHAMVW-AOOE AHL 
XI 


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nq ‘au YONUE pouINsUod SUTLIA UT 
Ajoowu sty, “ssouyoryq si ysno1yy 
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yoryq ut Ajomuo us useq prey 
ased oy} jt {o}se} Jo 19}}eUL & Iayjos 
-O}[B JOU SBA STRUT Id][eUIS 94} OF 
YU por Jo asn arf ATUOWUIOOUN ay, 
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0} ,, pIjos puv dn-asop ,, sea uontsod 
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jo 10 Jaydeypo jo sasuvyo ay} Jo sun 
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sit patdnss0 yey} A199v.1] poyeloy Jo 
spueq peoiq 10 ‘ased oy} Jo WYySIOY 
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‘sI0JOO ~PIAIA ul pozured ATqemurpe 
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qurenb YIM po[y 910M SULSIVU PvoIg 
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poqured oy “royeururnqp! at} 0} UdATS 
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‘ausisap ay} 0} Wt passed oy 4aoys 
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*YOR] UI S}X9} SL 9[GIS9] OS JOU 919M 
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ay} pure ‘sprom yuouruo1d stow 9Y} 
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yoryq ‘ajsvj poos yu ‘ued oy} Jo 
soyono} poyeodor yim poyured 10 ut 
poly pue ‘umerp AT[NJorvd svar 19339] 
yory ‘“ulsieur poqiiosoid oy} UY 
pue 1ayj0 Yyova WOIZ 9oULISIP UDA 
ye ‘ouly v uO siaqjeT sty day prnoo 
Id}LIM 9} yey) Os ‘SOUT, JUTE} YIM 


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sknq ‘ajzovreyo Sty] Jo xOM SAnq IaAv0Yy A, 
“AYMoysIp WIM pwot SNUL F[ASWIY JO}IM 
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-ue jo sayquin{ pue saypeut asay} ‘au OT, 
*pnoid Ara ore Ady} JuaUTYsT[duiosoe Yor 
jo ‘sdaya] afqeieydioopun pue Surysiiq ut 
SUM JO UOIL ay} pajdope savy ‘ssuryy 
[nyesn jo sxastdsap ‘AyypOALY JO Siottupe 
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Iof ‘paepur ‘puv ‘ase mo Io} ajqeyMs st i] 
“‘poinjio} pue paloqe] OU ST SUIIM SIP] 

*ssoujvau yeois YIM 
s19jo] ULWIOY 9}01M OYM uvUUSd v ‘pati 
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e Sunjes ul jeu oy Apnoygrp ayy jo sutured 
-WI09 Joy “SUISNUIE SI SIoITWIpY Iley} pure 
sioye] payutod so uoneR}sajap $ Yoretjad yz 


yno poddeu sem 3x9} U9} ay} Aq 
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soul Uso pur spIM soyour Udy 
jnoqe St feay 9yI YoryM Jo ‘orpoy Autop 
se UMOUY MOU Jey} SeM UOTYSeF Ul 
JSOUL OzIS BY, “*pazoopas seM UNA 
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ay} toy Aouout jo surns o81e] sasnoy 
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Aq }$aq IY} Op 0} poyepnuis o10M 
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pajueyddns gun syooq [je ur peoyd 
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poaoid uit uv jon.4SUOd 0} aIISIp 9y} 
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yetoods v oq 0} pauses o19Y4} Usat} 
pue ‘si9}Jo, ONseIseTI09 se UMOUY 
a19M Sioa poyutod oyy, “worysey 
eB auresaq qNef sty} ‘UOTe}UBTIeULO 
snonyiedns pur ainjooyiyore poyutod 
jo a8e uapjos oy} uy ‘sapsue YIM 


‘SHOW WIAGIN AHL 4O SYANVW-AOOT AHL 


WITH 7 TO PICA LEADS. 


SOLID. 


"r ‘Gu uyol “za gevap 
ya ‘ay20u unsafe, po pus mpy “wunaowpnf, 
sdamutag ‘aurutou snuaponry ‘SIWSIADYY] XP 
OuLoy WaynY JA :SLoyes[nA ayy Jo satdoo 
poztoyyne ul sivadde mou #1 se 3X9} OY], 1 


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jo JNO JU ATTENPRAS SUTLIA JO WLIOF 
sty} nq fouseuspreyD Aq popuru 
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ayy Jo are Yood sty Jo S19}9] FUL, 

‘JUIUIUIOD OU LOF [[Ld JeYI SOYSTULs]q 
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[nos sty syyoid ystX{doo ay} Jo 10qe] 
ay} spit ‘Apoq s,ueur ev ATUO syyoud 


{xtoroeT wor] 


“€inqusaD YUIN ay} Jo ystAdo_d v jo diysuvwusd oq], 


-[NA ay} Jo sotdoo yOo1109 UL puNoy 
aq 0} JOU o1e atogma] O7]2 UT SP.1OA 
ay ‘sisthdoo yeoruvyoout Auvut Jo 
ssoussayare9 oy} Jo ojdurexa Arey v SI 
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aqliosuvy [peys oy soy} oAn{pe | 


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[Nya.1eo 910UL ay] Jo oUIOS Je} JUONboy 
OS oUIvIaq SIOIIGT “WI9y} 0} peppe 


‘SOY AIGGIW AHL AO SUAAMVIN-AOOY AHL 


32 0 ad eae ouULLY Lp Siam SIpY 
erunsospmidaruitd suis 
Boze, oummytavy daa omloy 2VU 
2 Udod ory Ay 


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-9[1vyD jo JosIApe puv Joyove} oy} 
‘slooyos uoxeG-o[8uy Jo oyeNpris v 
pue uvwiysipsuy ue ‘uInopy “oeTy 


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GEORGE BRUCE’S SON & CO., TypE-FounpDERS, No. 13 CHaMBERS-STREET, NEW-YORK. 


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GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 Cuampers-StreeT, NEW-YORK. 


63 


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GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 


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‘SaDY GIGGI FHL AO SUAMVIY-MOOG ANT, 


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‘ONIINIUG YOX SNOILVAVAIU AH, 


GEORGE BRUCE’S SON & CO., TypE-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


69 


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“ONTLNINDG WO SNOILVUVAAAY WAT, 


om 04 Suojoq Aodoad prom — 


— 


GEORGE BRUCE’S SON & CO., Type-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 


Breyier, No. 15. 


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‘ONTINIUG UOE SNOMLVUVAUA CLA, 


TO PICA LEAD 


7 
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WITH 


SOLID. 


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OTM “Y.IOM ST eTquuny toaoMmoy “1eyIOM 


GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHampBers-StrEET, NEW-YORK. 


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yysnl ysowye sues suvtreaqiy Aprea Aq syoog-yoopq ey} JO yoopoou ou], 

; “qsor ATCBAOLIYOLU 
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oq JOUUBO 4sI ott “SUOTJIPpB aso} yIM UdAGT “SI1OAV 


‘Kqayyog  “syooq-yoo]q AUIU JN OqLIasep P[Noo Soljad SV oLPVA Llp} 0F WOLUyWR 
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“LXM], LAOMLIM SMOOG-MOOTA 


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WITH 6 TO PICA LEAD 


SOLID. 


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‘LXOLL LNOHLIM SUDVAI LO SNOOP MOOTA 
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GEORGE BRUCE’S SON & CO., TypE-Founpers, No. 13 CHampers-StrEET, NEW-YORK. 


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‘IXG], LAOHIIM SMOOg-MOOTY 
‘LXG], LOOHLIM syOOog-MOOT 


75 


Brevier, No. 20. 


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“LXAJ, LAOOHLIM SMOOG-MOOTG 3 


WITH 7 TO PICA LEADS. 


WITH 6 TO PICA LEADS. 


IBIM suoyeysnqt oj sey ased yous 
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peplep ore suoNTpa asey} Jo Suravisua 


“IXa]., LOOHLIM SMOOG-WOOTE 


‘Lid wunsagnnog vygig ‘neat 
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(UO faAqf Jo uOHL}dut9} at} St Yay 24} UO 


GEORGE BRUCE’S SON & CO., Typr-FounprRs, No. 13 CHAMBERS-STREET, NEW-YORK. 


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‘LXG], LAOHLIM SYOOG-—MOOTA 


GEORGE BRUCE’S SON & CO., Typr-FounpEers, No. 13 CHamBers-SrREET, NEW-YORK. 


77 


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GEORGE BRUCE’S SON & CO., Typrs-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


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GEORGE BRUCE’S SON & CO., Typr-FounpDERS, No. 13 CHamBers-StreET, NEW-YORK. 


79 


Minton, No. 11. 


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‘LXU, LAOHLIM SMOOg-MOOTE 


GEORGE BRUCE’S SON & CO., Typn-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


Minton, No. 11. 


80 


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‘EXE, LAOHLIM SMOOG-MOOTE 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHamBers-StrEET, NEW-YORK. 


81 


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IX], WLM SMOOG-MOOTYA 


RS, No. 13 CuampBers-STREET, NEW-YORK. 


f-FOUNDE 


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pey opdood oxy Jo worjtod ooreyl ATA VS QUOSSTP ILM SUTTOULIO, SBAL Todo 


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‘goTjOU JnOTITM Aq possed oq jgouuvs Asotoy OF PouUVIT OTL puR TOMonI4sUL 
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‘IXA], HLIM SHOOg-MooT, 


LID. 


© 


TO PICA LEADS. 


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WITH 


qsnue ‘prot Woeq pvr som 
-yord of} JO Spulaso] oy] 10 
SUONdLMOsep oT} ULOTLM 09 


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sjsond oyedogyyy ,"80}v 
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IOF WOYRIS [SUT UL SoysV 
-sopo0 AQ WoyJLIA 9.190 
Aoyy yey} oumnsse ATopes 
AVULO AA ‘TRUOTOAOP UBT 
10TH [VULIDOP PUL OLYBUL 
SOP SL YLoney UOLoT[at ot 
qnq $dojyoVIVyD SNOLSTPOI 
B JO olW SYOOG-soopq ot 
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oy} sovpd jou prnoo sxojuLUd oy} VY} JoFUr 07 GALT, OA ‘TOAOTIN OE SULDIVUL 
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apis 9u0 UO TA UOTssordu yvou vB sonpord you pynos Aoyy geyy ured st 
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‘IXG], HIM SMOOg-MOOTE 


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Minton, No. 13. 


88 


“‘SNMUOT OY} FO SUOLTPe SHOT OTL 
Aq waoys Apu Adora st Aydvaso[Ax 
JO poyot apo oy} 1oy oouatoyoad 
TOY, “WOMUPAUL MOU I] JO LOAVY ULL 
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pey sodA Wott As ‘QGFT oyye Wado SyOOd, 
-yoorq om yo Ajtrejndod grote oy, 

“Kampuoo yyWoeyy oy JO cogaenh psy 
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YOUpA ssotapna BYTOM ort 
UL PUNOF OC, OF JOU SL TOMPA YUL WALO.TC, 
UL SYOod oy} qnoqe ssouoepue werpNood 


“IX, 


4 


VSLOLOL, “POLLod worptwo we Jo tv tod 
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snyeredde ord. 


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punof woog oavrty, qoyuncqy oq 0} posod 
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TA OW Y SYOO-YSOTG UL PUNOF todd PALL] 
SMOQOVAVYO OYT-UVULIO) OF ‘8.109907 


poavrsuo oy} FO Torysey co sodvys 
og Jo Apuys og TLono.a1yy SUNJOU WIvoT 
OM “ONpPBA PBoTPoRAd OU JO PUL ULL. 
un sv popavsot Mou ore Ssyreut sod 
ud mo epvur ssuriosvoe.c gnq ‘soryd 
OULOS UL 10 93yep ouLOS ye aoded 91g Fo 


DMJOVIMUVAL VY} [VoOADL pros Aout 


HLIM SMOOU-MIOTE 


TO PICA LEAD 


WITH 6 


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adoy oq} ut ‘peztanaos ATPOPeIw Lead, 
aany syreu-aoded oyy, ‘poputrd 9.10.0 
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SOAIS JI nq ‘sesv ofpprut oy} Sutmp 
SOLIPUNOS [TB ULSLBLOTS FO PUB TPP.CATT,) 
oy} Jo osensury oy} “WyUrT SL SHL00 
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OL, “Spe MOUY ULeL.190 07 poy SJoRy 
oy, Jo MoNRyuosead ysoT[OF ayy PTO 
ION “LOPVOL OU} LOF YSVI SNOTPE} B OPTA 
-ord pTHos ‘spueuMs.1e oy Jo yzoddns 
Of} OF PozSa1A Spovy oT} 07BIS 0} TOA 
a0 ‘suvsyied Aq poouvape syuoTUINs.1e 
oy oyloor OF, “Toynqg Ayoamms ore Lot} 
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-yooTq ATIwo oy} [[V otto weULtox) 
oy} OF, “puy oF poyuwa Loyy WeTpAr 
AyTuoO punos cary Sdormbur ysour yey 
OJOU OF TBF JOU T[LM Jepvat pesvrqun 
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GEORGE BRUCE’S SON & CO., Typ 


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“SILATVG WATADAdS AY, 


NEW-YORK. 


7 


GEORGE BRUCE’S SON & CO., Type-Founpers, No, 13 CHAMBERS-STREET, 


95 


Minton, No. 15. 


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‘SILATVG WATADAdY ANY, 


No. 13 CHampBers-StREET, NEW-YORK. 


GEORGE BRUCE’S SON & CO., TypE-FOUNDER 


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ULI ‘SILOM JUOLAIP IATOMY JO SMOTIPS 
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JO MOISIAA TON, Of} PoLOAvy ATE OTPAL 
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“UMALINTUd NMONYNO NV JO dIHSNVNMUOM ANV SMUOM AHL 


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WITH 7 TO PICA LEADS. 


WITH 6 TO PICA LEADS. 


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‘SILATVG WATROUdS ANT, 


PO —— 


GEORGE BRUCE’S SON & CO., Type-Founpers, No. 13 CHAMBERS-STREET, NEW-YORK. 


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‘ssopy ay) fo yoog anvy oy se UMOUY Ue) ‘ASmgry oy} Jo JUSUISpIIqe uy 
punoy useq aavy wiynoady oy} Fo soddy oy} ut pozutad syood of941] LoyyO Jo syuauH 
“syooq Jo Surpurg oy} Log ‘xopurg, oy} SPIO 0} suTLOY ouUTYyY, xis pred 


DAVY [ “WAIT ,, :OOfO SI} OF ST FLFL JO paooes oy ut Aajuo ysay oy, “WorTpe 


[:doajoyy w017] 


‘amnoedg oy} JO UOHIpPY par, ey} ur sedAy, Peurg ey} Fo optums-owg TI edAy, 


aot Asti ae ndinzty sadipy wer Bal dog 


LQUBUIT VUtOt An aades sBpmn} Bsn tt Aout aia guaG a3 afiu aa ftotere 008 30 


Hus wapa smvuan ads sunk gaia prt dlza 


Minion, No. 16. 


98 


OS U1 2198 Adare LAgMosCg 
dMER RIWatI07 OQPOUY O20 


aw 


Miyut ayugyea smyyanye —" — 
Snesds enSoporeg 
ANNI, ANGI SNgByUBD 1B 
WA, ings asc smMI7E saseys OY 
SNUIVA Hausn|y ogvtom wALE 


fo sayqngy oy} SULEYWOD YI YOod YW ‘"plhout JUecoytp BV UL popuNoF SBAr 4L 
qvyy Uleos pmom yt ‘Kpoq «oSiV] VFO ST JL SY “oovF JOUT|STp V SB yt YSITGeISe 
PIYM saotecayIp oAVY sIIyJO ynq ‘Teomuepr oav speydeo outos ‘yy edAy, 
Fo osoy} o[quiosoa Lay} ynq ‘toMou ore oovy sry} Jo soddy oy, “TIT dA, 
“‘punofy waeq ART 
addy toypeus sty} ur yooq Auv Fo s}usULsely ON “plow toyjouR ur popunoy 
useq aAvy ysnu oy ‘Cpoq puw sory royfeuis vw yo ore sedAy osey} Sy “toqno 
-1a}Jo] oTUVS OY} JO CrysUVUTy.1OM oy} 9q 0} Woes OITA pV ‘suOTJIpPe Layo Fo 
asoy} arquiesea yor soddy ‘gg pue EF sased uo ‘suLeytoo ‘paryy ey} SB yood 
SIY} UL poqhtosop st yora ‘wnynoadgy oy} JO Wortpa yond eT, “TT A44L 
‘spooyos oy, ur aepadod 


Aa Toy} SVM YIM oenh ypems vw ‘opngQ fo syajdnog ey} JO SeAReT MOT 
CGFL UL LoyUaANG yw payutad yooq wv Fo 


FULaTy oT} UIYJIM PUNOF SVAr SJUOUTTVAy osey} FO ouQ “SRULIOSIIg JO IemIMBIS 
Une plo oy} fo ‘Amyues YyToeoj}ArG} oY} UL pat] oA AuBpyLIg Fo qsorrd B Aq 


MGINING NMONUNG NV 1O SHNOM AH, 


WITH 6 TO PICA LEADS. 


SOLID. 


BrvMs Ins QV don att a) 


SuM Seg Mhaspens Har itty Vy ay 


aux apne 14 310 Btaasradyarlal mites py ey 


SpAIa UsH 33254 OnguD seas wars 3H 


Hd 3 St Bnangasn 3130 340193 (T 3714) 389 
Sifssuzargny say SIH1g 29} Hag yeawusra 
ZGlea sh vis Gases git 31H Benole 


OWLS OY} WOA, SOAVET FO SSuNINO UrBzWOD “FILET pUe CRFL ‘OLFL savoXk oy} 10F 
Yoant[a sty} FO SYood unos.¥ oy, “Ajo yy} Jo TBApoy}wo oy} UL qdoy svar Yooq 
YUM FLPL wed oy} LoF Yoog yuNooov uv Jo HUIpUIG [BULSIIO oT} UL PUNO; SUA 
‘mopaveyy Jo A419 oy} Fo [Tey Ajio oY} UL MOU ‘FvoT oYJOUW “LOFT Peep SI Sesyvet} 
asay} JO euGQ ‘eUTopoOH Jo Tez ouyq Aq pozuttd sostyved} [VIoAes pourEywod 
YOUpA pure ‘oFo[OH 4V “JUEATIOD WOLG 0} posuofad aU Tort oUNJOA 'B UL posed 
SBM ‘POYTWOPL SVAL YOO SITY} FO WOUIpe OUO Yar Aq FLoT OLoUls Oy, “sMpMw 
-o(7 PY} JO SUOLJIPE XIS JO Sorfot oY} PUNOF OLOAr TOJOBIVYO OWLS OT[} UT “poqurtd 
o1OM wnynoadg oy} JO SUOLIpe eTqBJoU MOF oY} AojoVLeYD SIG} UL “T AdAT, 
“MOROYIssUp oyBanoov Jo esodand oyy Loy puv oue 
-IoJad UL OUSIUOATOD IOF ATUO WAY} 0} POULsISse Ted eABY S1EquINU fapeul a.1oM 
sodéq oy} OIA UL cone dt} So}VoIpUr StoquNU ssoy} JO Tapco ayy 4VYy} pepuey 
-oid you stay -sanbrydnubodhy syuamnuopy sty ut ‘doayyoyy Aq pegttosep oe Aoyy 
POT Ul IopLo oY} 0} Surparooov posuviae uooq oavq puv ‘s1oquinu Aq poywods 
usaq aavy saddy oy, “potdoo uaeq SBY SULMOT[OF WOLVOHISSLD OT} BLOM TOTAL 
WOIF ‘puabary wapwnpyyT Sopury top UA FO Ysipoug, UL LOpV[SUBLy OTT} ‘sTasso EL 
He Aq ‘sod4y aroy]} 0} Surpaooor poyissvpa ATTNFervo Wooq aavy Ssyood eset, 
‘royutad ctoyy Suraroou0s Acmmbur wv Ul onTVA FO sootloplAo STUNT ‘drysuvuly.10 Ma 
fo sarjtaernoed Tey} JO owWos puL ‘puMoF oLOM s]TOMSVAZ Toy} LO SyOod osey} 
acoyM soovd ogy, “Arnjuso yyUeeIFy ay} FO qaed cayyvy oy} 0} sxoydvasorrqrq Aq 
poTAISEV T99q GARY JVI} OANYVU AVILUUIS FO SYIOAA Po}epUN SNOLOUVINT THOTT “ALOTA FO 


‘MGOINING NMONUN NV 40 SHHOM FNL 


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99 


Minton, No. 16. 


oyT,  ‘peqtosop Ajsnorserd sxyouog oy} JO somrreynsoerm oy} [Te yuosord 
goddq sqy drgsuvuryromM ATUOAOTS orour YIM yoog poyurid v ouLsvut youues 
aug ‘dayvur poyurtd jo ooerd ysopjo oy} oq pmmoys wnrwmpavsqy ey} “n0900 
S]MVT osoy} YOM ur yoog oy} Jo Aymbyue aowwodus oy} Jo soueprAe oAtIsnyO 

-uoo sev paydooov oq pros Suyurtd Aqqeys pue Surpunoj-odAy snoarwqreq JT 
SOS ah Ute] 
-reeyy jo royutad v ‘uemzg ueA UYOL Jo syUVpUdosep oY} FO syoog oy SuoMIY 
‘Kanyuso yyuseyy oy} jo Arvracmq qdiiosnuvu wv ul ‘WepTeRy, Jo ‘9potosusT 

repunoy-oddy payeaqatao oy} Aq ‘TEXT UL podtodoosrp SBA Jour} 99, STULL, 

“eI4SoU eq pmMoys pyson 9 QUIT TULIPIZOH Oq pnoys wuMIpYyoD *g SULT 

*"sIqou oq plMoys sigon “Gg OULT ‘ouRd oq pmMoys amg = GUT 

‘godAq oyqvaoul TWoIF suOIsserdumt ore Sxayoy] OT} JVI seAdord YLOM 9PI4TT 

sty} Jo eSvd puoosas oy} UO sdoqjo_ Moy Jo ,WMOp opisdn surmmy,, OUT, 
‘oSenSuryy Yon, ey} IOF opvur oq oany 0} woos soddy oy yey sAvs doyjoH 
‘@ sdojoRIVyD OM} OY} FO Worun oy} Aq poutAoy SuIeg 1oxjo[ Sly} ‘” OU SBVTT 4 


[Sumoy wo.17] 


 sutg odog jo sydeyidg oyg Fo sodAy, oy} Fo oprms-ovy “A Oddy, 


Iyiid waged ymangew nienny munbusG 
Bibun Www] Frmsys Gudivu gywaiug, 
Siro AusHur wievojay oumunss 79.0nbav jE 


~ 


“Suds Anm pry wmgdeydD 


YUE BN Goropad-24y38. gy 230 Joy 208 
ONAN) INF WI-opEy] M-siged sade 2D 

nyu sueGiy a99}-3 3704 sin seadeD 
IIIa soo wisd- Bands wyeav tOnsEF 


Soars Kyser Apgnd mAdeidD 


foSunSury ue] oy} Ur posn you svar YoryM aaqyqoy wv ‘y ayy sey goqvyd[y ey, 
‘srofead OM] pur ‘peastg sopysody oy ‘vey, oAy oy} ‘tedvIg $,p1OTT ey} 
“(speqideo oy} jou quq sxoye] TRUS oyy qe) yoquydpy oy sureyuoo 4y ‘sourttd 
Spltyo vB 10 ‘wnriwopaaqy we se stoyjo Aq !stoXvad Jo Yood op IT] B LO “wnt 
nop ese ouios <q poqtiosop st yy “ATWO opis euo uodn puv quouryored wo 
pequttd ‘sosud yysto so yopydured apg v st odAq sty} UL qyuewIseIy LOGO OTT, 

“eq avjnorpuedaed oy} YyLM 7 TeUy oY} UL UeEs oq AvUT sv ‘opAys YORU, ey} UL ST 
Ioyoy OY} Jo wOrysey oy, ‘woynjound so syaeu ro suoyddy YA poptdoad 
Jou SBA pasn oy ory odd} Jo yuoF oY} Jaq ‘spcoM oprAtp puv osovds 04 
MOY Mouy cojtsoduioa oy} yvyg yuoptAd st gy  “seqqui_As ur paptarp Ajsedoad 
aie ‘Uayorg Tay ‘Spxom oy} pue ‘yySue_ oy sv usdAe Aytvou oe sodAy Jo 
Soul] OY, ‘“ooUssSIJoyUL pue oreo oUIOS YALA 9UOp SBA TOTSoduLoD oY} ING 
‘Surpunoy-odA} oy se ATWoAoTS sv st ytoassord oy, “toyed jo uoyrordde 
ayy Aq poaouwoa Ayrpeor st yoryA yur oped ur peyurid ore Aoyy, “Surpunoy 


‘MGINIUG NMONUN(Y) NV JO SUNOM FHT, 


“poqjruro oq youuvo puv ssomexr, Aprurey 
oY} Teoq sxoog esoyy Jo seddg oy} 4eqy Syrupe 
ey 4ynq ,,StaygZO oY} Woz ‘YUdPxXE UTeJAI00 B OF 
‘Leoey stg} ut pozurid ore yor “wiwopa0ag 


oy} pure snzwuog 2q}] SYTOM 9T]ITT OMG OSOTy 
oyeredos 03 o[QesSTApe ,, 4t 4ysnoYyy OFF “wD 
ppnagPr apaysug oy} fo adhiy, 944 SB yNq ‘TITA 
eddy, SB sty} eqtosep you seop sTessey 7 


WITH 7 TOPICA LEADS. 
SOLID. 


-odAq UL [[EYS ou pry oy uvut v 4q poepunoy ATJUeptad ‘ouly FO Jno puv yYSIEY 
uaAoun Jo qno TnJoovlsun ApvpUsus Fo ‘snoreqreq aav sodAy oy], “sYOoq aesaty} Fo 
auo Jo soled UMOUY ATUO oY) Ore ‘FRFT UL IFO 3 poyuttd ‘uoyoAaop Jo yoo vB Jo 
SSULUT] IOA09 OY} UL POLOAOOSTP OLOM TPIT ‘snznuUog B JO 4X9} EY} Y}LA ATWO opts 
euo uodn poayutaid yuoumoard yo spueq 
peotg OM, ‘Syoog oi ATWO Jo syuoUt 
-Svay oy} UL punos wooq oavy odAy Jo ad¥z 
Sty} wor suowssordmy pTLA Ad Ag, 
“A eddy, 8B poquiosep Jojovrvyo ayy 
go[quioset Apasopo yoryar fodAq siqy Jo 
UMOUY St IVY} [TB ore Gueqvag [ION 
UI qUdATIOD B OF Sursuojeq pue “EEF 
reok oy} ut Sanqseg ur poyurad yooq 
w Jo Surpurq oy} UOT Uoyey ‘amMyT[eA WO 
SnyMUG VJOSIAVIT MOT "TTA AdAT, 
“Apoq aourtrd-qvary) WO popunoy sv 
yorya ‘od 4} sty} Ut Yooq uMouY ATUO 
oy} st ‘ased oy} 0} sour woAos-Aj]UOM4 
‘snynuo(y ayy FO Wotps UW “TA AdAY, 
‘od Aq stqy ut poqurad osye 
a10M 0709 Jo sadnoy ayy JO WOTYTpa BuO 
pus ‘sn)) 0) apu 9 y {0 jpur.tpod ayy 
JO SuOT}Ipe anoy ‘sx7~DU0G oy JO SUONIpa 
XIG ‘pojutid o10M SUOTIpe OMY Yood 
SI} JO ‘tomoZT Jo osread ur Ir sug 
Aq oovsord v yy ‘poy ey) yo omoyide 
Ue IO JUSULSpIIqe UB suTeIUOD ‘SOAvOT 
uo} Jo sysisuoo yor ‘adAq oures oq} 
UL Yoo ayouy ‘ggFT tod oxy ut ‘ud 
-Ivvpy Jo ‘uoozsetmpuy uve Aq poyuLtd 
YIOM B JO Surpurqg oy} Wl punoy svar 
WOTIpo oO FO YUMA, W “padcaAoosrp 
Uaeq ABT YOod sty} JO suoytpa OMT, 
‘poyy ey} Jo WOKwpuoutUMod vB ‘ATo} UEP 
a10uL 10 ‘wawoy fo pouy ay, “TT sv 
adog liq “aya ‘aaoryT Wo asynany, YW /pnogy 
ay) fo yyvayT ay, Uo vppmanbioy, & hpog 
ayy fo YNway ayy Uo opoyngy fo my 
2M 2 8OVA} Jourystp Moy Jo dn opvut st 
qt ynq ‘sosed moyz-Aqueay ATUO sey qt UL 
payutid yooq oug ‘sjopqdured 10 sxyooq 
Ayod uo skvaye sv 4 qnq “4st, eq} 
ur od 4} aoyjo Aue uvyy posn Apytonboty 
o.LOUl Wo9q OAV OF Suoas A OdAT, SILT, 
“yood 
SI} UL oTqveorjou ose st wrynsadg ayy 
FO SOYSMULeT OY} JO 9UO SB padTjoU Uddq 
Sey YOIYM s1oj}joT possoquie JO Jooyep 
qqeyreurat ot} juq ‘toded oy} Jo seprs 
qo UO puR YUL yourq poos ur payuttd AT 
-juaoop o19M AoY} Scourtard-yvaty JO ozIs 
ay} uoqe Apog & UO popuNoy ATATET 9.19.0 
sodAy oy} : oyovavyo ToLtedns Jo st Yood 
ayy Fo gaed sryy jo drysuvury1oM oly, 
‘goyep osoy} toyye pojurid pur woz {LTA 
Usdq SAVY JSNU YOO oly, “LEFT Ul pomp VPA OzZUeAO0'T ! gePFT Tod oy} UL TT Sut 
adog opvur sva sntaydg svounpy 10 TUTMOpODOIg [BUIpIVA + yooq ey} jo osv ojqev 
-qoad oy} JO SUOLJVOIpPUL OLN PUT, OM SOTIVU O80} UT “YPPDA oZzUaLorTT wo hibopngy 
e pue 77 sg adog fig sydnydg pwn asyvety, % 01 peyoaap exe poqitosep Ajsno 
-taoad yoog oy} Jo sosed yuonbasqns qe puv sed yyyy-Ajtoy oT, “A AAA, 
‘roqutid UMOUYUN oy} Jo od4y 4soB.avy oy} SuUTeJTOO puB Yoo 4sosAv] oy} SBAd 
qy ‘oSud of} 03 sour x1s-AyuoA\y ‘oroy [TUS JO wALOy oY} Ur pozurId st ‘sosed 


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‘Mery [RUTUNLI JO seyteernoeg ey} Jo sedAy, oy} Jo oprumts-oV 


AUMUND POUILY geogIng sngeE Ayn 


ut 2 


otyB}) 
BU0d Q VIMCgHT p10 ezavont 9 


MoM JI2d WIAD BIN 
Jt9jj20a3 CQyBINNs Bie UI BVgy 


‘UGINING NMONYNQ NV dO SHUOM AHI, 


s, No. 13 CHaMBERS-STREET, NEW-YORK. 


R 


a 


GEORGE BRUCE’S SON & CO., TyprE-FouND! 


. nto Hits it's 


7 : : , ; 7 il “e] mii <1 sabeil ae natconrwes | 
eds a4 feyveureet vil ov 8? ty oil fn +. | wie NGO > = etl WE re a eal reg bs ea 
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ra oy + Make gitlefa fide. # \y . ? . ’ i. . te agg ear ery ary naj phe 


"abe aeedenst Sagat) Sea wv re o.4 ' “ r . > : lareerretyts He ! ~ 


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a 4 = eo . st ftir <> & dacun aalng 


Minton, No. 16. 


100 


*SJUOF XIS nq FO 
asn opeut ‘savet ory} -Aq.10F 1OF zoysyqnd pue 
aequuid @ sem oy ‘royeoyog *adAq Fo syuoz 
XIS Wey} S10 Jou YFIM YOM sry prp ‘savod 
Ayarqy oz Suryurad postyowad oy ‘saroquoymy 
TAXX *d ‘ir "Toa ‘wozang fo iydpibodh yy pwn afvT 
‘sopv[g ‘s}UuoZ FYSIO ynq Fo esn opvut ‘orjos 
ut sosed jo spursnoyy pequrad oA ‘W0yxXBy 7 
pros Ajquqoad oto. pure ‘sX£oq-[ooyos Fo 
s7TeA oy} 09 ‘Apjueredde ‘paydepe ‘apeur 
Atdeays oro Ao, ‘syopydued sv poy 
-Issep) oq prnos Loy} yey VATNUITUIp Os 
ale SIOTTIO 9Yy {9ZI8 opqRoodsa.t Fo yooq 
ATMO at} St wrynody oy, pSYtOAM 8,10 
-jurid UMOTYUN oy} FO aANYVU [BIALI oy 
AepIstod aM usa AressaoouuN 9.1OUL 
oy [TB wees ody Jo syuoF GYS19 OsoTy, 
‘requttd TLapout oy} 0} eSuB.I4s OS suIBOS 
yorpas Apog pue sovz Ul soUEteyIp oy} 
Moys prnom ‘Aowmoov youxe 07 plus 
-01 IHOYJIM pur ‘poyjeu oyyUWeIOs yno 
-YJIM opeut yng ‘ato pjo ay} FO WOTywyLUAT 
Ul opVul JUOT MoU W ‘plnow jo yuoeur 
-jsn{(pe Mou v puv S9DTYVUT Mou UOT 
ysvo ueaq aAvy Avut TOTTA ‘1oyjouR Aq 
poovydor svar 41 ‘Qno WIOM svar sad Ay Jo 
qUOF BSB WOOS Sv yyy osoddns Avur 9 AA 
“1oyqoso0} osn ut tem sodéq yuoeroytp 
eso} IVI e[quqoad TB ye you st 4y “sae 
-punoy-ad.4y wepout fo yw} UBYy poyyout 
sedvays pue aeyomb youm v Aq apeut 
teeq jou pry Ao} Jt poMouod Waa OABT 
jou prnoo Aoyy nq ‘sod47 oy) su ysvy sv 
(MO dIOM SP[NOU pUB S9dLIYwUL oy} JVYy 
arqissod st 4y ‘uorssoardurr surareyqo Fo 
poyjour oy} sv yoojtodumr sv sum sodAy 
Suryeur Jo poyjour oy} yyy} ‘osye ‘ees 
uvo aM ‘“Ayprdvr gno a10M oy yey 
pue ‘posu Ayysnor o1aM sadcy oy) yeu 
sMoys roded oy} ut seddy oy) Fo TOK 
-ByUEpUL Ysivy ey, “syooq ey jo drys 
-ULVUILY.IOM o[QVYyIVMI oy} UOI, poate 
-op Aprrez sorngoofaos Aq ATWO poroMs 
-ue aq uvo suoysenb esoyy, 4 Apoq jo 
SOOUILOYIP JILSYS Yous LOF opBur spmour 
Aueut og puv ‘sovy Jo sosuvyo [eraLty 
yous 10F yno seyound Auvu Os oTOM 
AYM 3 4,904f0 00 UI paMoTle ‘1ey}0804 
PexTU aq 09 aTQVIT OS atOM puY ‘1030 
yove Loy uexeystar ATrpved oq plnoo yey 
sod4y Fo serpoq puv soovy Auvut os a0 
AYM ‘ose vouo0 4e suoysenb oy, 


qaede paysmsuystp oq ‘sed4} opsuts 
jo odvys oy} ur ou prnoa Aa} yey 
aye AJAvou Os SeTpod soTFo Suryutad sry 
Ur poonpoajyur ATTeMONMAZUT oy yeVTy ynq 
‘gad, Jo yuoy Mou AtoAO LOZ spynout 
Mou Suryvur puv soyound mou sugyno 
jo asuadxe ssa—peou oy} patmout ATO 
jou wrynady oy jo aojuttd uwMouy 
Un ay} JVy} wees pfMOM Jy “prnouL 
juerayIp 10 Mou B ur ysvo sea Apog 
romLtd-jrary wo sory oro puw Apog 
Yslsuq WoO sovE Yove yey} “yueueM 
-SBOUT [HJAIVd Ioyze ‘S1aAOdSTp oY WOM 
posvaaour st Ayrxetdied stpy “raT0507 
pasn oq jou prnos Aoyy yey oyT[UN os 
yo ‘1ayJ0 Yove Surpquresea ATasoa saovy 
WLM seddéy Fo syuoy AuvUt os opvut pur 
soyound AuvUL OS Jnd BABY PTLOYS 08 
-sodapard mMouyUN sty ATP OUTS BUTT OF 
SSO] B 4B StaojutId Utepoul sy, “reurtrd 
-Jvay) JO oZIS aT} Jog sorpoq wo 91V 
Way JOoM SYysTEsusy Jo oz1s oyy Aprvou 
SOTpOd WO 91¥ SadVF VSO} FO MOF : SOrpod 
juatayrp AuBUL se WO papunoy ata 
sodAy Jo Saovy WYSTe ase, “SeN[NoyyIp 
SOA[OAUL MOISSIUIPR sty} Ing “eTqvqoad 
Ayysry st ‘rayurad yvyy Fo so} 
ay} Jo to ‘rojutad oo FO YAO OY] OOM 
Aoy}) WY, “SpuvpreyyeN ot} UL paraA09 
-SIp Uoaq aAvy sodA] osay} UI SyLOM FO 
S}UOULGV.LT LO Sotdoo SUYSTXO [[B IBY WORF 
oY} Moa puw ‘syood oy} [eB UL s18q]9T 
ay} JO WOLYyseZ Toon oy} woaz ‘yoo 
OULUS OT} FO SUOTIPS OLY FO 9HvUuSULT OYy 
Wor potiopuraq ATA YSt1 Avur‘puvyjopL 
ur Ayqeqoad pue ‘spuvpreyJeN oy} Ur 
pasn pu popunos o19M Aoqy yey, “ase 
rey} eyndstp op esoyy Aq ueAd paspa 
-[Mouyor st ‘spuvpronjeN or} Jo rqyurtd 
uMouy Auv Aq cou ‘Aueurrex) Fo zoyarad 
sue Aq posn aaaou 10M LOY} IY, 
“yYood oo UL sedvy OMY JO sduvIvedde 
[euorsvos0 oy} Aq ynq ‘soanyvey wou 
09 Aq ATUO Jou ‘1eY}O Yove 0} WOTLTaL 
Toy Moys soddy Jo saovg yySto omy, 
‘pojo[duros T9A0U SUM JooYs oq} 
WO YOM OY} VY SMOYS IoqoT TBNTUL 
ay} oy oovds peTTyun oyy, ‘eprs rayo 
oy uo suyjurid Aq poqoozaod sea yooys 
ay} o1ojoq poejoofer useq pBy Tory 


“HaINTYd NMONMN(Y) NV JO SMUOM FAHY, 


WITH 6 TO PICA LEADS. 
SOLID. 


“Moy Mouy Jou prp Aeyy yey} LozUT 
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01 sod4 Jo sour, ourm ynq oAvy sosed 


NV JO SMUOM FHT, 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 


101 


Minton, No. 16. 


DOOM FO SIOMOEYS OPI] oy) ‘soouengur 
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NV dO SMUOM ATHY, 


WITH 7 TO PICA LEADS. 


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NV GO SMUOA\ AH 


GEORGE BRUCE’S SON & CO., Typr-FounprERs, No. 13 CHAMBrERS-STREET, NEW-YORK. 


adrenal Ywokage 


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102 


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‘sadA} ay} Jo Jayew ay} se popreSer Ayradoid sem taqyno-yound oy} ‘y10A. 
ayy jo yied yNoyjIp etour ay} pue onsnie aiow sy} Suruojiog -1ayno 
oY} SVM S19}}9[ [OPpOUL 9y} speUl OYM ay !JopuNoy ay] svA\ [eJaW payaut oy} 
paimod oym oY :uawyIOM jo sassejo om} hq opeur a1aM sioyuLId Aprea ayy jo 


‘MHLNIYG NMONUINQ NV 4O SYNOM AHI, 


WITH 6 TO PICA LEADS. 


SOLID. 


— ——————— ae 


sods} oy, ‘apeur orm sad4y Sunurd ayy yoryam Aq soyound oy jo nq ‘Sunuud 
Joy pasn sodA] Jo yey} JOU st Sun mo yy, “poureydxe Appear aq ueo Suryeu-odAy 
JO sadjou Jolie oy} [fe ut quenba.y os ore yey} Su Md-19}}9] 0} suoIsnye oy,J, 

. 908} VY} VyeuL ose 
pinom Apoq oy} ape YyoryM pynout wv ur Surpunoy jo ssaooid ay} yey) ves Jou 
plnoo oyM,, ‘pavusog sfes , ‘aflooquit ue useq savy ysnUI azy{,, ‘“pinsqe st 7 
sv sqvonjoeidun se st poyjem ayy, “yuewtedxe Kreuruerd jo AeM oy} ut ATUO 
SpeUL oIOM ‘Te ye opeu Ft ‘sadA} ng ‘saovy ay] IND UDsY} pUe saIpoq ay} 3SvO 
ysiy stojutid ay} yey) JUSUIE7e}s dy OF AIOYIME a[qIpeto OU st aot {amyl 
-uod B yng “IaAaMOY ‘Sti _‘9INjJOa{UOD STY] OJ yUBIIEA [[NJ v paulaas—adAj am 
jo Surpunoy ay} s9yye yound at yo Surmo ayy peovyd Ajssajaieo ‘sadAy Suryeur 
Jo ssasoid ay} uretdxe 0} SurAy ur ‘oym—Amjuso yUIa}XxIS ay} Jo AdfoIUOIYO B 
Jo asensuey oy} Jo UOHONsuOOSIM ay T, “paavrSua AjUenbasqns o1aM saovy at 
YoryM jo pues suo uodn ‘satpoq porenbs Ayn4} YIM ‘Te}our Jo saqno a4] pepunoy 
Auvtusar) jo siayurid ysig oy} yey) pasoddns ayy -Ar09y}3 ay} Jo uONeoYTpou e 
pelayo uvuliaeyy ‘punois s[quiresseun uo sed Supyeur jo poyjour Areurseurt 
sty} aovid of, *sadq asatp yo Ajernoad ysoyea18 oy] Jo uoHeuLidxa sjqevuosear 
ATUO ay} WU TIM AoNsap 0} pauses pooa Jo sarpoq Jo AypIqeonoesduit ay} jo 
uonensuowep yw ‘sed4y oy} Sutavisue Aq ATUO paonpoid usaq savy prnoo 
‘ropunoj-od4) urapoul ay} Jo a8evsn ay} 0} AreryUOO os pue ‘19}uLId UMOUyUN 
ay} JO syood oy} Tw UL s[qveoHOU Os ‘sia}}9] Jo AJOLIBA IB[NSuIs oy] yey} pasapis 
-uo0o sea yy “AMuvjonjet dn uaats useq sey poom jo sad} jo sisayjodAy ayy, 

"EL ‘el ‘dd ‘puacaT 
maz_Amvpy ‘9pury Joep ueA  ,“JauuvU sIy} ur syooq jurid [ydurayye 03] 0} ‘Teor 
-wiyo AjTeJawW pue ‘snoynorplt ‘afqissodunt st yt inq { ueULIaaTY “J JO SYIOM UNET 
94} UL 9UOp sey JshIe WepiayoyY stp uv) Jane ‘szwwpnoyag 4azu0 JaSagS ‘sp1OM 
aa1Y} 9} eINdexa 0} 9Iqv 9q P[Noys | ‘31 0} suIN pue afqnor) Aw daar 0} paysIM 
J ‘laAamoy yy “suNsvo-od{} Jo yom ay) Jo Jed yuej}0dut ysow ay} SI yeY) J0F 
‘sanyeipenb ay} urejer Ady} JVY} IoUUUI B YoNs UT ‘poo ut Sia}9] ayeIedas mo 
0} 9[Ge SI OAVISUD OU 7VY} ONS [sof T puw ‘QoUeYS OU MES | “WOYS UT “s19}9] VY} 
poinfut eavy pnoA 7 sv ‘sauo\s}ayYM Ss apuNoj-adAy no Aq 9uOp aq ou plnod It 
ynq ‘Wt paly[ “Wey a[y to ysrjod oj ajqissoduit sem jy ¢op 0} MouyeYyAA ‘arenbs 
AjTeonewmayyeuUr Suroq Jo 4Sa} ay} puLys p[noo YIM 10}}9] OESUIs v JOU SBA JIOYy 
:a[qissodut sem 31 nq ‘Jayfered pue yYySreys s1aye] ay] Mes O} PfNod | [Te pip 
I :poos sv yey Mes v pey uoozsue[ suamey mo JoYy}oyYM Jqnop | yey} apeur 
Aj1aA9]9 OS ‘Jaa}s YysIEsuy Jo Sutids uty) Asda v Jo opeu ‘mvs ayy] ouy Alaa B pasn 
I ‘dys ayy yo arenbs Ajjeoneueyyeur s19jja] oy] Mes 0} se MoU UONsenb ATUO 
ayy :S[00} poos puev suy jo UVM OU pey | pue ‘asodind uo Jaq] yova uaamjoq 
AMPS B JO 9ZIS 9Y} INO” Jo vovds ¥v Ya] pey T ‘S1o}0[ 94} No J uodnoarsy} ! dys 410 
POOM 9Y} WO S19}}9] BY] MerIp pur ‘[r9UILId-S UOT Jo azis ay} ynogqe Apoq e}sndi0g 
yxoL, Jo djs uapooM & apeul [ *aZIS IoSiey YeYAMOUIOS & JO May v YVIM s}UdUITIOd 
-x9 opeul oavy [ “a[qissodu st pay suid v Jo azIs ay} Jo sda}, UBPOOM YIM 
YW Op 0} :snomorpit aq pynom ‘sporapuny Aq jjashur yno vavy JT YOIYM puv ‘poom 
Ur no ore YOIYM ‘punotH pup asnozT ‘sprese[d uo sev ‘quinyy eB Jo azIS ay} jo 
speyideo WIM Yoog v yuLId OF, “jf Op 0} B[qQe JOU ore UD Jo spuey oY} IO} WyZeI0 
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OYA Us pauives, yoNs Inq ‘Joye oUUTA Joep UeA “zZ] pue ‘Kern aq ‘“1aInNq 
JYaIQ TY _S}shjie oy} 1o0u ‘pue}srapun 0} ajqe oie [oouVIT JO AAVISUA-POOM JIAO 
ysow yj] uoypideg tou | Jeyjeu ‘auop savy siley SIy pUv Jo}SOD SudIMeT 7eYy 
puojoid ee pue sniun{] uourapjues paures] asoy} sev sSury) yons op 01 
ynq ‘sieak Ary} Jo premdn Joy apunoj-od4q v useq MoU savy J !S9eI] Ae[peur 
pue seed ‘wyed jo poom ur soyjo Ssunuud uMmo Aur pue s.jayyey AW oy somsy 
pue sia}ja] no savy J pue ‘sieaX Ayy ynoqe 10y Sunutid pastolexe savy [,, 

:ppeyosug Aq payeys ATARI SI poo Jo sadAq jo AyIqeonoeid 
~wt oy, ‘sodA} Arvursewrt asoy} Jo olyuoq & ape WISIONLIO yeu ‘apury sap 
uv, sdes ‘own SI] “poo jo sodA} TTeus YM odomy ul pojutid aAe seA\ Yood 
ON ‘poe}turpe oq jouUvO ‘syooqd jo Sunutd oy ur Aypayvodar way} pasn ioyud 
Aue yey yuoutazejs oy} Inq ‘ayqissod st ‘AyjeyUauIedxo ‘pajutid aia saAvel 
gsurs yey} ‘apqeqoid st Ayderso0d4q jo 10juaAut ayy Aq pelt} o1aM poo jo sodAy 
yey], ‘sup Uae AJ9AoU Sey YOIYM yeaJ v ‘UONIsOduooa1 pue uoTINqmsIp poyeod 
-o1 Jo yey) st ydeooe uvo Jojuid v yey} AWyIqeonovid jo uoNeysuowep ATUO 9y} 
!yUawlIedxa 9UO JOJ aAIOS 0} apeUT aq Uv Ady} yey} YSnouds jou siqy *AT[eUSIS 
ysour [ley poom jo sodAy yey) divm 0} AITIqGeI] SIG] UI SI IY ‘aOTAIAS aIMyNy OZ 
penyun pue ‘adeys jo yno pajstay oq UOOS PfNoM ‘pepresat oq ysnu AVY} OS IOF 


‘NHLNING NMONYNQ NV JO SYYOM AHL 


GEORGE BRUCE’S SON & CO., TypE-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 


103 


Minion, No. 20. 


pepunoy oq plnoo pve jo soddéy Teonovid yey] pooutAUoD seM ay : papsddons 
qusuitiedxs ayy, “pea, jo Ajerimua jsowye pasoduioo sad} spmow onbnue 
Sty JO ouIOS Ul js¥o gpeyosuM ‘oolqns sy} UO s}qnop sIy Ajsnes Of, “pray 
aind jo Ajqeqoid ‘yeyaut yos A1aA Jo ataMm sodA} sty yey} MoYs syooqd s,1ojuLd 
uMouyuN ay} jo Auvur ut sodA} ay} jo soul pousyey pue soovy yory} oy, 
‘ei ‘d ‘ardamiugutrg ap “Ha ‘9u.SiUC 7 ‘SUUOS, «“saoLIeUE IO sayound JoyIIE o10M 
sadA} pay[eo-os asoyy, “ali YIM JayjeS0} punoq pue ‘ajoy v YM paosoid 
sadA} pouonuow ATeoyroods savy ‘siaporuoryo Aprwa Jayjo puv ‘jasaidg ‘ur 
-daoyos ‘uvunoayy ‘Iayeq [neg ‘snureyoadg -‘asodimd ssoidxoa siyy 10y apeut 
useq aAvy 0} Sivadde yorum pfnouw pro ue ur way) wor sadd} ysvo ATTe}USUT 
-wedxa pey Inq ‘SioquiaimyN jo ‘YyotMprezy “a jo Arpunoz-odA} oy} ut sao~neur 
peutofuos uses AjUO Jou prey OYA ‘UvLUYOSIE,y “Py 9UO SajzIO Surmoy ‘asn 
Iiy} JO }qnop ou oq ues sly Jy, “pansqe siour yonut ore yeyy Aydeisods} 
Ul SUOHUSAUL Jo sSuOTyeOyIoods puy [IM sj10odar juoyed uvotioury pue Yst 
4g oy} sarpnys Ay[njoreo AsA00yM nq ‘stqevonovidut sursas ssao0id oy], 
“aUIT 0} SB on pue iYysIoy 0} 
se wiojtun sadAjy sonpoid jou pynoo yf !uontsod s9doid ur saommeu oy dooy 
you plnos yt Joy ‘Ay[MNVJ seM poyjou oy, “pmmow oy} uo ATammsas wey} doox 
pue Jaqjes0) Way) PUIq 0} PoWOSUT SVM ITM UOT We YOryM Ur ‘afoy-JopUULS 
B® YYA SapIs ay} Ysnoiy} psosrsid o1aM saoLyeU UIped, ssa, “paurqurod 
eq 0} speur s1aM “IayeoyoS 0} poainqnuyye wry Aq pue ‘apayosurp Aq paumo 
SOOLNeU ay} JO XIG “ssoLyvut oy} ulof 07 Ainjus9 YjUseyYy oy} Jo SalzpuNos 
-od4} 9y} ul soyovid UOUWIOOUN Ue JOU seM Jf Jey SIOAOOSIP SY USYA Jarfoq 
Sty} UL pousysueys st sug ‘ammssoid Japun no Surusyey jo ynsei oy} 
SI ssauasojo sIy} yeq) sisayjoddy oy} Aq UoNoRyJsyes sINUS YLM pouTetdxe oq 
jouuvos YoryM spIoM ay} JO aUIOS UT SUNY Jo ssauasojo wv st alayy, “Apod 
UO UO IOYJISO} JSLO 9IOM S19}}9[ DIOUL IO OA} JY) puL ‘pautofuco sauMaUOS 
dJaM SdOLYVUL ay} yey] Nq ‘SsadLeW pve UT ISvVo ATUO JOU JIOM w7ZIagS AY) 
jo sodA} at yey} pue Yopiq Aq paqtuosap se [ejauI JOY UL yUNSs pue ‘poom 
uo ynd adam Soyound ay} WY) sfqeqoid sit yf ‘sjoajap IepIULIS Surmoys sodAy 
aonpoid pynom Sulpunoy jo poyjou Jaya yey? swaas JL ACJ ‘s19}9T OY} Jo 
souvivadde oy] Woy pourusojop AyjeatIsod oq JOuUvS ‘pee] JO SaolyeUI UT 10 
‘pues ur Ajainua papunoy o10M JajuTId uMOUyUN aq} Jo sad] ayy JATIY AMA 
‘Log ‘d ‘aydvasogiy ry Ans wssq Yopiq  ,,;pasn Apuonbasy ysour are 
yey} Sia}a] VY} UL puNofZ 9q 0} o1e adeys ul saduarayIp AYM SuOsveI oy} o1e 
asoyy, “yound ot} aavisus-a1 0} Alwssad9u satuoceq Udy} IT ‘TeJoU JOY sy) 
UL paling SI yt yey} sw} 9]}71] ay} Sump pousmq st yound oy} yey sueddey 
uayo i] “yeay oy} pue oinssaid ay} Jo sjoaya oy] Woy UONvIa}[e sWOS sa08 
-Iapun yound 9y} jo uo at} ‘xEQeUI ayy siayue-01 Yound ay} JaAdUOYyM Ing 
‘saoldyetu JO aoquinu 9} asvaiour 0} Aressasou sit yt ‘posn ApUenbay o10ur 
aie WVU} SIa}e[ VY} Toy puv ‘spamoa 10,~ “Yound sures oy} wo XWWeW AOU 
B ayeul 0} Io ‘poom jo yound oy} YIM XVeU plo ay} I9}U9-a1 0} pasifqo 
Suleq ynoyywM ‘sadAj AVYS1o 0} AYXIs wos ureiqo uvo dUO ‘pea, Ut XIeU 
e% A][BUOISEID0 [OOD 0} UoNNeoaId oY} Surye) Aq~**sadAjoa19}s jo Jaquinu 
peru, ev oyeu AjUO [JIM pvoy Ur SooLeU asayy Mg “aUULUE AIeUTp.IO 
ay} Ul poure}qo st YoryM yey} se yojsod se odd} v ‘peat Ul XIQeU ve WOT 
aye} Avur auo ssaoo0id sty Aq add} ay} Jo dovy ayy sayeu yoryM [xLnQvUI 
ay} ur paisou] odAjoar1a}s ay} 0} J[AS}I Stapfos ou sures ayy ye ynq ‘dy 
ay} jo Apoq oy} soyeur AfUO jou ‘prnout siy ur pamod yeJoW poyout oT, 
‘pinour ev oy dn poyy pur ‘pee, ut xiayeu oy} ul paovjdar si ‘passaip usaq 
SuARY Jaye ‘YoryM ‘yeyout ut oyvoydnp v ‘xIyeUL STy] Woy dyxv} AeUE oUO ‘SUL 
-dAjoaiaj}s Jo ssao0id Areurpio oy) Aq ‘uay, ‘seoLMeUr JayJO oy, ‘Furuy] 10y 


“HHLNIAG NMONMN() NV AO SMYOM FHL 


WITH 7 TO PICA LEADS. 


SOLID. 


<¢9d4) Surpunoy,, Jo aseryd ayy poyuerddns oyy, “peyur jo sod4Q ysoS.zv] oy} Jo oanjouynueur 
Ajarqua, sey Spel 10 Moxy) Uappns e soydumt oy} ut s1apunoj-ad4q Aq pasn SI [etIayeUl OUTeS 
yy ,odAy Suysvo,, oseryd ayy, “urqsed oyy, ~saysejd 10 winsdAZ poutoyed jo apeur st 
JO paoioj SI [EIU JOY ap ‘ouUTYDeUT 10 PueY pNou ayy YyoryA ur Jeyy St SurdAjoarays jo we 
Aq paxsom JayAYyA “pfnour Teour oy} UT fur UWiapour ay} ur sso001d paaordde ysour oy, J, x 
poanod st jejaur JOY dy} “\Ppjnoul pues 9Y} UT g “pesy sind jo 
‘sSunseo deays sdnp sodA} Sunyeur jo Ajiyiqiseay 9y3 soyeysNy]]t spe 
-oid 0] YSIM OYM SIapUNo} ][e OJ sperayeur JO YOIYA\ “a XI 9Ie[q Ul Sadueyo asoy} jo uoHey 
D[QLIOIAIDS JSOUI DY} J DYLUT ‘payJOM aq UE yI -SNI[E ~eoHOwId & UDAIS sey ‘wozrDD mvIITA 
YoIyM YIM asea oy) pue ‘pues jo ssoudvayo 0 sy gvs50gh puv afr7T sy ut ‘sepelg 1 


pue yay 10; poynsnf AQuaenbasqns ose ssaooid sty} Aq apeul pray jo soomeyy 
‘uaprey 01 yNoGe st pest oy} ‘Yeay Aq pajjeur ‘USM UL}SUI By} ye ‘pooM UO yO 
JajoeVleyo & ‘ped] ULYZUIS OJ SI Yor’ “+ ‘ssaooid sty} JO asn apeUl Ua}O 9avy T,, 
“QANONASUI SI I SB ShOLIND sv St UONdLOsap siFy “AIMjyusd yUaso1d oy) Jo Suruurs 
-9q OY} Sv a}e[ Se UDAD Sod] [eJUSUILULIO 9S] JO SUNSVO 9} 1OJ Axpunoy-ad4} sty 
UI pasn oJOM pea] Jo SaoLeU pue poom jo soyound yey) sxvs ‘slweq jo Iapunoy 
-ad4} quourwia oy} ‘opIq-uluty “Aimjuso yYUaeYyY oy} ur TaysoyoS Jajyaq Aq 
pasn o1aM pawwreys oy YOY ‘peay Jo soonneu Arpunoj-od4q sty Ul pey Wepieepy 
jo speypsug = ‘saaqutid yoinq pue ueUler Jatpree ay} Aq pasn Ajuenbay ata 
pea] Jo saoLNeul yey] Joy UMOUY [Ja oY} WO paseq St s}usWeldu apni ssaq} 
JO 9SN dU} UT Jolfaq SIFT ‘“pval Jo Soomjyeu UL pepuNoj o1aM pue poo jo sayound 
Wolf BpVUL dam wngnzegy ay} Jo sadd} ay yey} ArO9Y} VY} UI Joljaq Sty Sarvpep 
‘rajsog Aq AydvasodA} Jo uonusaut ayy uo Aessa oztid vB yo IOYNe ay} ‘SuITUOy 

¢ XLYVUI ay] JO SoU] JoUY ou} [TV aeNOUEd 7 OYeUI OF Pap|aU SI VY) VdO10F 
ay} Noy ut pommod Joy APUaTOYNsut TeJou WO ‘pues Jo spynouw ul pepunoy 
Aymyypeysun sedAqz jo syney ayy ursas sroyey~ ay Jo AuvUT JO Saul] JUSIDYap pue 
stua}s ponods ‘sa8pa papunol sy, “sp[now pues ut speur oq pjnoo sad} Tyews 
yey poaoid Ay[ny preurog jo quawtiedxs oy yz, ‘ssoooi1d ouies ay} Jo suOTJoay 
-rad uit ay} a1aM Sjoajap ay} sasvo YJoq Ut yey} sdUaIoyUI Jodoid B Sta] “[eJoUL 
JO SiIq JO p[nour dy} 0} IsvF Suppons ay Aq Io ‘pues Surpynour sy} jo ssauysno1 
ay Aq pasneo A[qeqoid a1aM pioM papunNoj ay} Jo saspo passe pue payods ayy, 
‘saspo oy] jo Surpunos oy} pue our jo Aepnseit oy) ureydxe pynom ainyeu Sty} 
jo 90uvqinj}sIp W “SuIppnout jo yue}sut ay} ye paqainisip ATfetAty Io papsofl a19M 
PIOM oy} ape yoy sadAq apqvaow sy yey SMOYS UOISSaIdU S preulog “SUIT 
Jo NO OIA SIONaT UY pue ‘panods aroM Sout] Yoru} at / wnpnsagg ayy Jo sadAy 
ay} Jo sjoojap AIA ay paMoys pouInjes sayeoydnp sy yz, “Apoq auo uo papunoy 
sad4q asayi Jo soyeorfdnp ystuimy 0} wy pajsenbai pue Siaya{ O1yjOr) UL p1OM B 
jo sodX} oyeredas Jopunoy sty) 0} aaeS usy] preutog ‘“Aep Surysom ouo ut sodA} 
IL[IUUIS PULSNOY] 9UO dYVUI P[Nod ULUIYIOM v JV] prvulog painsse Japuno}-ssviq 
aT, ‘e[qrse] oe Aoyy nq ‘sedAj uroM ATpeq ayt{ yoo, Aayy | rapunoj-9d Aq yeuols 
-sajoid ay} Aq apewut sada} jo ysruy oy) you, Aoy, “Spynour pues jo Aqyiqiseay 
aq jo suonensnit yeonovid sev Aroysty sty ut preutog Aq pazud 1am opeut 
OS Sia}Ja] pepunoy sy, ‘avo ArvuIpIO ULY} IIOWU WAY} 9AIS 0} 1OU ‘SIa}j}a] pa 
~punoyj aq} Jo dovj OY} YSTUY JOU ssarp 0} JOU JapUNoJ ay} peSieyo ayy ‘sayeordnp 
popunos paisonbat oy YoryM Woy sfapow syy se sioqje_ Teydeo ueUIOY May B 


jo sad4} ay} Japunoy-sseiq & 0} BAvS ‘slIeg Jo ‘preutog ‘pues Jo spjnour ur sodA}. 


yjetus Bunsvo jo AppIqisvay oy} 0} se s}qnop UMO sly AJsHeS OF, “S}oajep repnNs 
-UIS YONS YIM pue ‘sorpoq Auvwi os jo sod4} 19}ULId UMOUYZUN 9y} Jo SuoIssaidut 
ay} Ur puy om AYM suosvar ayy ‘ATqIssod ‘are TeMouss yUanbo.y $s} OF Ajssooau 
ay pue ‘asvurvp 0} AWyIqeI] s}t ‘prhour pues oy} Jo ssousjqesy yy, “reded 0} 
WYSoy rwSo.1 Jo pue Apoq uo jas ATpoyoo.ss ‘aut, Jo no usyo Os aie sadAy ayy 
AYM uosvear oy} oq Avw ‘uoneuL[dxa OU JOF sTTeo yey ATNoysIp v ‘Apoq ay} uo 
uontsod sadoad ut 1a}9] ay} Jo sovF ay) JO pjnour sy} Sunysnf[pe ut Jo ‘spnou vsay} 
0} SOOLNVU SUNY Ut porayuNoous AYNOYIp oy, “9.MjdafuUoo sty} WAyUOD ysouTTe 
Yorya sodA} sty Ul santernoed awos are olay, "pues Jo spynouw ut sed} apeul 
pure ‘spew UT StapuNo; JayIO Jo ajdurexa ay} pamor[oy SadA} asayI JO JoyeUr oy} 
yey sfqissod st iy “TeJaut Jo JOU SBM PynOW sy} yey} pue ‘oyHUsIOsUN sem ssao 
-o1d dy} Jey} MOYS 0} UIaS Sav} ay] JO SUOOaJJodUII Vy} pUe S9Ipoq ay} UI Sato 
-uedaiosip oy, “Syooq ey) jo drysueuryoM ay} wo. ssad0id ay} aanjoafuos 0} 
aavy oA, ‘AydeasodA} jo sraporuosyo Aywa ayy Jo SuoNndiosap ansva ay} Wor 
pours] oq JOU papuNoy ato Syood Ava Joyo pue asaty Jo sadAy ayy MOPT 

: PUL Yoru? 10y uty) pue ‘uorssasdurr yYySy roy prey ‘aeded Arp 10; JoM 
Sunniysqns Aq saddAj usapout ysaq ay} Jo souvreedde oy} 07 usats aq ued jeYR 
sosuvyo oy} Jo uonou stadoid v aavy suosied May ‘uorssordw pue Suryut jo 
spoyjout Aynez 0} ynq ‘sadd} ay Jo UONIPUOD ay} O} JOU ‘a[qvasreYyo oe ‘SOIL 


MALNING NMONUNNQ NV JO SHNOM AHL 


SL <r ees -- —- —! . 


GEORGE BRUCE’S SON & CO., Type-FounpErs, No 13 CHampers-Street, NEW-YORK, 


1b ehallbathy ach os 
' wa is aduay =z ae 
a? Yo ater ike} 

bwicpenl key 


[Vee ke 


<a ee at ES 
i blige coqghe iy ne 
apf Tsp ad), feet, 
iow) ee eu pied 
7 iv wel 


ear 


‘ tne. Ua 


; Pees a tate econ 


bo aemneg 2 
st) to rotiz 


; igeetinay bp mek 
reels "ya iris pears 
’ f; Le _waaett init 3 


ate Seenrrie: oll nl dnaber. earn) o ci Poushel eet acy! ii 
ig? I oF Layne al? Sree ere al os Aa RS? was awa Je teil Iie : a ; ¥ nnd gs 
ribines 2 “ay 1 Ral ee Lac , a - 4 oy Paes es 


~ 


Minion, No. 20. 


104 


Ple[ St jJeeys sy, “Yysry-adA) asvyo B 
ul paysau ‘wngnsads ayy Jo yey) oyun 
JOU UWIOFJ B uIe}UOD 07 pasoddns st ‘uo 
-eQsni[t pexouue oy} ur ‘yorum ‘ssaad 
ayy JO paq ay} uo WO; ay] SuLpUT YILA 
suiseq ytomssoid jo uonesedo ayy, 

Se} FHOGIIP 

Aja & pautiojied ay spetiayeut yoozpied 
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ueUl & SBA\ Jo}ULId oy) JEU] SMOYS FIOM 
ay jo wed sty} Jo UoNNdEXe [v19UeS 9} 
{sola Teun deoxe alaMeasay ], “Ul, aq} 
jo pua ay} pemmosqo pue ‘adAj 3x9} 8yy 
Jaao peddys yseut oyj osed 19yjoue uo 
Salty M UL passoquia sem Jey Tayo aq} 
aT ‘“Youyq ut pajurid sem sadAy asyey 
ayy Jo Jyey-euo yeu} ATpetaty os poddyys 
ysvur oy} osvd 19430 9UO UO +: yoRTG 
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JAOYS AY} UL SI9}}eT passoquia 9y} SUL 
-onpoid ‘uotssoidutt ay} pouedsep pure 
peustysuens Ayjeor}] “uotsserdunt woz 
WE plarys you pinos nq ‘peimbear jou 
SBM YUL B1IYM YUL YIM JOR]UOD WO 
JoaYs BY M oy} pepyparys 1] “Joys ay} 
yjeo saayuLd Utapoul YIM vouvATIUOS 

aures oY} AT[RIURISGNS SEM YSVULSTYT, 

‘raded ay) 07 porraysuesy oq jou 

P[NOA sierveq oY} UO Yur sy} WVU} OS ‘sa 
-1eaq asay} Iaao yseur v ynd 0} Aressa 
-oau awievoeq 1[ “‘poimber svi 10]09 ou 
dIOYM SULSIVUT 9Y} UI pue SaUT][ JOYS Jo 
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ulLoy B Yyons 19A0 1oded 971M Jo JoOoYs B 
Avl OT, ‘asvyo uspoom ay} pur ‘sio1vaq 
se pasn sodA} wom oy} 7x9} ay} Jo sadAq 
ay AYenredurt yenbs yWM pouseyorlq 
aAvY JSNUI pojONIsSUOD OS WIIOJ B JO 
Ssurut oy, ‘soddéj oy} sv yystay aures 
ayi jo o19M Ady] Joy ‘AYMOWIp Mou wv 
apeut Ady} nq ‘uoTsserdut anpuN WoT 
sodA} ay} Peppelys S1orewaq VsayT, “avy 
-ims a1yue oy} JoAo0 ATTenba uorssaiduit 
aya pasnyip pue ‘uajeyd ay} Jo yus0sep 
ay} parpea}s ij “uorsseidunt usasun WIOIL 
“ sadAy dU} PIatys 0} Jervaq wv se nq ‘sedAy 


ay} ploy 0} asvyo w sv padres ATUO JOU 
poom jo yoo sty, “sedA} oy} se YW S1aYy 
aures ay} JO pooM jo yoo[q pasyszo0ut 
B Ul pauds}sey ataM sodA} Jo sased ay} 
yey] SUI99S J] “poo Jsurese suorssaid 
-UIT JO SYIVU oY (e[qvyeISTUUN SI POOM 
jo ures oY} 10J) payoajap oq uo 2mzM 
-~20dS ay} Jo satdoo Auvut jo sursivut ay} 
uQ ‘“JUaIOYNsut sVM JusIpedxe sty T, 
“syooq Jsarprea 
ota jo ouo ut Aunfur wos seddéy Suse, 
-oid jo poyjow sepndod sity 10;un09U9 
0} osudins asuvijs & stay “Arnfut wo 
soul] JO Spua ot} pparys 0} sadAq yo suI0F 
ay} punore poom jo sdiys uty) uo pa 
-y9¥} 10 UO po}sed sowmeawos usatussaid 
‘Ainjuso sty} jo Jey say oy) Sump 
sessaid puey uo pojund ota syooq 
uay A “AvMe Nd Iv pure ‘pepseu Jas UCT 
ou ore sprens oy} ‘syutod 1aqI0 Ur JOaF 
-iod apeut useq aavy sazeyd ay ua 
‘sprens sev uMoux Ayensn ore yoru 
oalqo sty} 107 pousisap A[ssaidxoa vary 
yey Jo soddy sour yoys Jo spua suey 
-x2 oy} ye jatasut stadAjoa.1a}s ‘pasodxa 
Ayrepruts saovid ut saddq joa}01d of, 
“MOTEq PUL IAOGR SUIT 
Ja110Ys 9y} JO Spua ay} ye sadAq UIOM Jo 
wonsasut oy} Aq uvY] Woy} SuIperys jo 
poyjout I9}j0q ou Mouy JoyuUd oy} pue 
‘aorssoid uit jsoprey IY} PEeataool SMOTLIJ 
diay, puodoq poyeford yey} sodA} ayy 
{soul] SUOT 9} JO Spus oy} Jv seM LON 
-isod pasodxe siyy, “payensei aq jou 
Prnoo yorya uorssordurt we wor suONIS 
-od pasodxe ut sad4} 1oy39q puv 1aMou 
PIPtys 0} sprens 10 Slorvaq se poares 
Aosyy, “eouvps ev ye yuoredde st siaqya] pa 
-ssoquia asay) peonpoid yeyy sadAi wi0M 
pue po oy} jo asn ay} Aq poystjdutosoe 
oq 0} vsodind ay} zoyutd u1apout ayy 
Oy, ‘yysue, jenboun jo soul, ureru0] 
YoryM ‘SuUONIpA Ue] OM} oY} Ur sIqGe 
-s01j0u }sow ore AoY, ‘Siorwaq WIM 
SUL] IU} [[Y 0} pur ‘soury 1L0Ys Jo pua 
oy} 7@ syerpenb yefer 0} wry peyjeduroa 
ssoid joojrodut stp{ ‘“sp1om useMjoq 
saovds se sodA1 Moy pasn oy 10F ua 
-reddev st syerpenb jo Aq1]yn oy} Mouy oy 


“AH LNIYd NMONUN(Y) NV AO SHAYOM AHL 


WITH 6 TO PICA LEADS. 


SOLID. 


yey,.L, “W9y) NOYIA YIO0A\ sty Op 0} pey 
yoo ay} Jo 1a}uLAd ay} yey. SMOYS 2077272 
-~2agS ay Jo souvsvadde ay} Inq ‘sadA} 
jo juoj AraAo Jo yxed aqesuadsiput ue 
SB popiesel MOU are S}yeIpENn() “Iapvo.t 
ayy 0} aTqistaur A;jUenbasuos are puv 
‘uoIssa1dWit OU axe} pue YUL OU aATAD 
-a1 Avy {aaTjor Suppur ayy Aq peyono}z 
you oie Aayy ‘siaye, oy] UeY) Je10Ys 
pllyj-euo jnoqe aie syuR[q ssey} sy 
‘syeipenb se umouyx ATTeoruyos} ‘syuelq 
e}ou S}1asuT 10y1sOduIOS ay} ‘aur, WoYs 
AlaAa JO pus ay} ye AYUe[NSaII postsop 
sty) sonpoid yah pue ‘arenbs urrof ay 
ayeuroy, “YIsua|, 1wNso11 ue yo skem 
-[e oie Arjaod jo saury !y10ys Auenb 
-ayy st ydeiseivd v jo oul ysel oy, 
-yuuid ut os readde skemye jou op Aaj} 
‘TeJOUI VY} UL YS UST ULIOJIUN Jo o1v SaUTT 
ay) ysnoyye nq = ‘pejutid 10u pep 
-uevy aq JoUUBS UIOJ oY} ‘porenbs Ayn. 
jou stased oy) pur ‘TRU oY) UL YISueyT 
wojiun Jo you ore osed Aue ut sodA} 
jo souly oy} J] ‘“perenbs oq ysnut sadAy 
jo ut1oy AtaAo9 aouenbasuos Aressaoou 
wv SV ‘Setpoq eazenbs uo aq ysnut sadAq 
yoog Wy] UMOYS Useq sey IT ‘SOUT 
JAOYS ay} JO Spud aU} 7B Saya] passoquia 
au St zngnegy ay, jo yAOMssaid oy} 
ut Ayuernoad a[qvyreulel JSOUL, ayy, 
“19}SIS 01 
jo no AJsnoLias se YIOM oy} UULEpUOD 
plnom sajzurd urapour ay} ynq ‘septs 
qyqoq uo pajurd a1am ay] :suonen 
-SNI[I NOY SYoo T[Vus ayy jo sased 
ay UL uses oq uvo ssaid ay} Jo Jaap 
sIUy, ‘Wuser siyy Surysyduiosov 10; 
pasn oq 0} Suva at} JO vepr yseoy oy) 
aaey jou pip 1ajuud oy) yey] (‘gr ‘dd ‘aze 
-auuAgiry ap “2a ‘Uowuanueg ‘uUrsts0 7 
Ans uoynpassyg Stq ut) skes Suro 
‘ased sayjoue jo yorq oy} uo Ajarenbs 
pue Ajn eased suo jutuid jou pfnoo 
uvulssaid oy, ‘uexe} ses uorssorduit 
ay} a1ojeq yooys ay} Jo uontsod sz9doid 
ay} Sururusajap 10f soueatnuos Aue 
jo ssoid sty} ut Aouatoyep oy} sem ATUO 
apis ouo uo pojunid sem zungnseds ayy 
AYM SuOSBveI ay] JO VUG “Woy UOJ ey 
00} I0 Iau 00} are Ady) Ssased 1940 UO 
{sjno-poom oy} uO a7I1q 10 depiaao sadAy 
aya ‘sased autos uM “I WOT VOUISIp 
aadoid & ye 10 pvay oy} Je SuLAvisus 
oY) YA Joyfered s9Aa ATeTeI St YOM 


-od4} ay} {yp fenbaun jo are 2wngn . 


-2adS' dy} JO SULSIVUI OY, “pe}loxa oy 
JOILOF DY} [OIJUOO IO oJEPNSaI 0} ARYIGVuL 
sto}uLId oy} Jo 7]NSer ayy APSeylueUI— 
Jaqjoue ut uorsseidwt yeam Jo puv Iu 
-109 9U0 UT aInssaid SuoIs Jo syreUr oy} 
aavy sased sui0g “uoyoNsuUOD JsepnI 
ayy jo sem Jojuud uMmouxun oy Jo ssaid 
ay} yey. seoueprAa Auvur aavy aM 
*QOUBALNUOD PfO Ue Inq apni v ATUO JOU 


MALNING NMONUINQ 


SBM 1] “ssid ay} JO UONON.YSUOD ay} UI 
UMOYS Usaq pPeY [[PYS aAnueaut AyWIOM 
-a}0u ou ‘Sunud jo uonuesaut ay} ut 
Useq GARY IYSIUI 919] JIU JOAQTeYAL 
yey, pesoddns Ayjw19uss usaq aavy 0} 
suleas J] ‘uorssoiduit jo afdiouud oy 
0} 10 ssoid oy} Jo wistuvYyoauT ay} 0} 
Joya peyor}7e seM sourzyoduit ou yey 
UONvOIpUL uv SI SuQuLid 0} AreryIxne UR} 
-10d uit Sty] JO S19}LIM pue sjsyze Te Aq 
je[seu [e19ues ayy, “Amnjue. yUSaIY 
ay} Sutinp oasn ur sseid-sunutid ay) jo 
uLloy ay? Jo uoNdtuosep [eqiea Aue Jou 
SUARISUS OU PUY ued aA, ‘SoInjoaf 
-uoo ATUO aie asay} ng ‘ssoid Sut 
-durejs 10 SULULOD Jo ULIOF paAorduit ue 
‘Aiqeqoid ‘sem yt skes preutog ‘ssoid 
-9UIA\ 9U] JO UONBOYIpOU & SVM ssoid SUL 
-juid ysry ay] yey) Avs s1oyine ueULIED 
‘ssoid ay] JO MO pue UI paaow oq oO} 
sod jo wioy ayy ponruted yey) yuoUt 
-yoeye ue ya pepraoid ‘ssaid-asaayo 
ayy Jo uoneoytpou wv sem so}uLId yey 
jo ssaid ay} sAvs ‘uoj}xed uo Avssa siq 
ul QYUstuyy ‘ueusseid ay} Jo uoner9 
-sip oy Aq Aju payeynser suteq paryd 
-de pas1oj ay} ‘Mois B JO UONDe JOaIIp 
ayy Aq WaATs SeM UOISSaIdUIT “PpOOA\ Jo 
sgovjins sursseid 10 sueze[d pue ‘auojs 
IO 9}e]S JO speq YA ‘souey UapooM 
pey Aimjua9 YjUee}oUTU at} a10Jaq peur 
sossoid sunuud ou py ‘seouerdde 
Apuey osay} pey raquud uMouxyun ay Jo 
ssoid ay} yey opqeqo.d [fe ye JOU SI I] 
“uotssoiduit oy Jo yuaUT 
-jsnfpe oo1u ev 10j souvijdde Araao YIM 
peptroid ssoid uom ue uo uewssoid 
qiodxa ue Aq pajutd o1aM Ady) ey 
SooUspIAd VAVY 9M OJ ‘Sutstidims jou st 
sty} mnq {ream ofqeioeidde ou pamoys 
sodA} ay} yyy sAvs oFy ‘soded Arp 
puv ysnor uo suotssoiduit paipuny aay 
paiuuid oy yorum WIM | ‘peol poxXrur 
-un,, ut sodA} Jo uonoayjoo v uy 10F 
ysevo pey aFy “asn yeonovid 0} sed4q oy} 
ind oy 10f ‘uoTsN[oUOD [NJssedons a1OUL 
® 0} JuauILIadxa sIy}] peLtreo sepe[g 
_ uinjojory B amb Y1oys ul ‘pue ‘ueUt 
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-e090 UO SSUIY] [eI9AVS PaARIsUS OsTe 
J ‘satuaroyap te Aem a[qvaeo} Ayeid 
v% ut poyddns sny} pue ‘prez ue sareigpue 
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ay} JO asn apvul pue ‘p7yn0w V panty 
-U09 J ‘AQAQMOY | .1OVVUT ay} OJ UONUIe 
yonu oy Inq ‘uopuo’T ur s,sauref 
ye ysvo sodA} uses pey [ !voweury ur 
Arpunoj-19}}9, OU SAL aTOY] PUB ‘s}.I0S 
pajuem uayo asnoy Ssuyuud mo,, 
: pes] Jo soormeur ur ysevo sadAq 
UWA voyjo Suguud aanoeyep sty Ajddns 
0} idu1ay1e sty jo uondrioseap sno~mo 
B uaats sey ‘Aydersorqome sity Ul ‘UIT 
-yuelg urmefusg “pee] Jo seoljeul Ur 


NV dO SNYOM FHL 


GEORGE BRUCE’S SON & CO., Typn-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 


105 


Minton, No. 20. 


ayn ‘poor oy dipiyg 10j spueys g 10} 
-J9] 8Y} ‘Suruoyy 0} Sutproooy *Apuns 
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ay} oie syrew-reded oy) jo Auew yey} 
pue ‘jueqerg ul epeu sem 
syooq oy jo saded ay) yeu 
‘obhr pue ozbr usaMjoq pa 
-yuud useaq savy ysnut ‘1oded 
aures oy} uo payuLid are Yor 
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syuryy Ssuruoy ‘daoajuy ye yysnoq seA\ 
soded oayi yey Moys ‘2éngnraags ay) JO 
asou} ayy syrvur-reded Surureyuos sired 
-ed UO Wd}IM ole YOTUM ‘Wopleepy Jo 


ovFI 9.104 
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oy] Wey} UlaYy) Wor aAoid 0} Yoo1epun 
‘syooq-yoo|q ay} Jo syzeur-reded ayy jo 
MOIADI B OF QUINOA OTTO} & Jo JIVd J9S.1e] 
ay] pejosap oyM “toyINe yYsIpsuy uy 
*paruttd aia uses aq 0} ore Jay} YOTYA 
UL SYOOd 94} USsYA sUTULIOJap 0} Sn 
apqvus Syeur asoy} yey) pres sey IoyNe 
Yo V “aZIs [RULSLIO ay} JO WY.SI9-auo 
jnoqe aie puv ‘SUIUOY, WO. Udy] VIOM 
‘ased SUIMOT[O} pue siyy uo ‘syreUr 
-ioded pjo jo suonensnyyi ayy, “siaded 
SUN jo sonypenb 19uy ayy 10; Ayoryo 


Ayt9 oy Jo Amsva.} ayy JO Spiooar ApTeo «apeur MOU ore syieuTodeg  ‘u10y 
ayy “Auunoo yey} ur syprutrsoded ou s_Aoq-3sod v jo yeu oy] pey vou0 Jsog 
Usy] 19M a10yy Iofy ‘AinjUe. YJUDIYY !sTfeq pue devo yIM poy soo; B jo 
ayy Jo Jyey ysay oy} Satimp jou jsvop yw y.areur ayy o10q vouo duosjoo.y ~“pasn sa 
“‘puUeT[OFT ULapeut jou ataM Ady, JOM -Suoy ou ore yw] Syreur Jo Soueu ay} Aq 
-stp outes ayy ur jou ATqeqoid pure ‘yu = uMOoUy Mou UdAA are Jaded jo sazis ure] 
auo ye Apel JOU AIOM SyAVUL + 199) ‘payoaj.ed st yt uayM Joded oy] uo 
-raded fo 4owea v wats OS Sut uotssaiduit sit soavay Yor odeys rerno 
-reaq siaded yey) JUaptAd St I] -ad awos ur poyonoo st dnd ystou ayy 
“00g ay f0 aygug 9M pue $2777 (SIA WO Sat oY] Surpuoq Aq opeut st 


-up9 ayy yo 1aded ayy ut punoy i] ‘ormjovjnuewu Iepnonsed ev AjQUapt 
are syieur asayy jo Aueyy 0} IaAnq oY} s[qeuUd 0} o1aYy pooe{d 
‘soy eded ay) pue ‘fay pat ‘roded ayi Jo qoM ay] UO USISap onbedo 


-inds ay} ‘WV WW S109] 9) ‘A ue st yaeur-soded y ‘poimjovynueut 
19}}9] 9 ‘q Ione] oy} ‘spray svM ioded oy) usYyA ou oY} puw say 
Sy[nq ‘usootun ay} ‘ATT ay ‘urydjop ayy soxyd oy] [wovat pjmom Ady} yey) Jorfaq 
‘puey oy] ale wey] Suoury ‘syreu * oy} ul poutwexe ATpojwadar useq savy 
-roded srepiurtsstp jo Ajouva ev ureyuoo so}uTId UMOUYUN ay] Jo SYIOM IOYIO JO 
ungnzgds 34} Jo sardoo uMouy [TV pure wnpnzegs ayy jo syavut-raded aH J, 


~nounvg— aiqisneld se papreSer usaq pey yorya\ uorurdo ayy JuaprAa sv arepep ueYy 
a10U OU SAOP YSTYA FeyY Uaad “Y[qeIYyoid st UONVUTUEXS OS ‘aUNIAO}STUT ST 10.11 Se YONUISeUT 
*s][NSA1 ay} Jo ssoujovxe oy] uodn puadop jou op says.reasar [LOTOYsTY JO ULTeYO pure AION ay J, 


“Eghr arojaq ary pas~) aram sodA 7 yeu apqueqord joN ** “spuey 
~Tayja Ny ey jo dey ae ausojoy wOA UTES Sunuug jo as poy Mouyy YSTpuepoyye NT *** TOJUDAUT 
uv JOU SE AA ** “sadAy, sty Jo apiutts-oey YA ‘sasnig jo oyig ***sIossa09nG sIf{ ~*~ sadA yj, 
sty jo 9] TUTS-9B “** Poulpeq qooe “"UWoptecyy ut Ssunug Apregy “** purlyox ur sodA yz, 
jo asy) Ape ue jo sousprg on“ orydessojAy Ayqeqoid Sunuug yoincy ***suowidg 
yuep.soosicq ** * ALOJOVISIVSU LY) IV °° aptuoryyD ausojoy oy} ul [[9Z Jo Auowysa [, Oe “sosnig ye 
uyof, 4S jo AQUI yeI YY ayy JO SlaULIg *** p1099 xT Aviqures) Y.L ** “SadUapIAg dy} JO MITADY, 
“AINjUaD YI 242 Jo FEF Issey 9ya ur poyunrg Ayqeqorg **"}Yy9e7- Je payuLig sem yoo 
ay} yey suogeorpuy ** yong, ur Adod ydiiosnueyy uMouy jsolptey **“uoNV}OUUW payed, 
ysarpleg aT, "sas y Jo suepiay JON ***Sapiwais-ov UIA ‘umypnoedg ay} jo sytepy-tedeg ayy, 


‘GaLNidd SVM WOTNOUdS HHL HOIHM NI GOlkdd AHL 
IAX 


WITH 7 TO PICA LEAD 


os 


MMMM! 


‘ssaig Suyuug pueyy v jo peg pue uedwAy, Gaxysuq ayy, 


Ped *4L dT 
‘ueduiAy, oy, J OD 
FSS OU as 


“puey Aq sadAq jo 
ULIOJ ay} UO pre, toded jo ysvul v UY 
aiow Surmou Ayqeqoid ‘uononysuos 
Jojdutts yonu jo sem Joyutd uMouyuUN 
ay} jo yoysuyoyy, ‘sseid utspowi v jo 
soouvlydde oy} ore asoyy, “uorssarduut 
dy] IATe0a1 0} Apeat ‘ULIOJ BY} JO BdVF 


“UGLNIYd NMONMNY) 


ayy uo uMop zeded oy ssutiq uoneiado 

YIM ‘CO Ul] ay} UO I9AO papjoy Udy} 

st uedurAy oud, -ueduid} ay} uo saded 
re 


ay) SuraA0co qued ‘q y our oy} ut 
UMOP P2P[OJF SI ‘WIOJ Vy} JO SanUelN 
-Soill dy} YUIS 0} No Jno syseur taded 
ay} Surureyuoo Yaysuy ayy, ‘aovyd ur i 
daay yey} Sapms ysurese uedurA} ay} UO 


NV dO SNYOM\ AHL, 


GEORGE BRUCE’S SON & CO., Type-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


va wigs a een | wt 
amdiningedd)l ae lS, 
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soe easel 3 
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= — 7 = rr) ae Ss : ZF : x F 


we 


Minton, No. 21. 


106 


yey} {SoetjToAoU Jou oAoA\ TOALIOSOp STY} JO Syoog yeyy MoYS pmo posn 
O19M SpdoM O49 YorpM ur AVM youy-jo-aoqyvur ‘Arp oy, “CeFFL sev Apavo 
sv qsvor ye sosnag ur aoqgutad orydvasodéy v Jo eoueystxe oyy oAord pom 
aseryd oy} Jo Momonaysuoo sty, “sod&3 popunoy ouyop ATrvoyo o.1ouL prnod 
SpIOM OU “ponajysuoo OG “pynows we ysvo ‘ST SPIOM OY} JO Suruvotm [VAP] OL, 
‘sa0q}g0, pojyutad jo ao ‘Suyutad Jo yuoRAMbs oY} Sv ooURAy UL popavsod 
ueeq skvaype oavy Soy} yeyy Svs pavuteg -‘ajow va pyah ‘splom osoyy FO 
ToMonasuo9 oy uodn ATetyuUo spusdep yWouMVOp styy Jo souRy1odtar OT, 
«spavyed wey toy a9ded ur Adoo 
TayouR yYySnoq pey oFY “Ay[MVZ aoyZoso}]V svar 4t yeyy pu “Gr UO oNTeA ou 
qos oy }eyy Suttes ‘Te, cok oyg ur ‘Avq sjureg [PTV Wo TeULyoop styy out 
0} petangot [pavroy patory] eF{ °Sjooas .Moj-AJuUoMy 4S8oo9 TOTEM pue ‘a7p0w 
ua zayjol SBM TPITA pue ‘souUOTOTETRA JB JYSsnoq wosq pey Yop ‘paerey 
piory oy} JO WOTONASUE OY} AOF [RULIJDOp B SITY Ye porNooIg “way ,, 
pred toanyo oq yours «of Adoo avpruats 
Be pey depuexepy opATy ‘sanog, Jo Aouerimo ‘snos AyuoMy “Qaenbove Loz 
‘souuorouete A ye yst{doo qsay oy “Qavnbavyy woay ‘eppy ‘Aavnuepe Jo qyuou 
oy} UL oF SosnAG 0} yUOS T orp ‘apjpow wa pypob [RULTJOop B AO] “wary ,, 
“Apunsang 
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WATMOTdY AHL 10 GomMag any, 


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WOTKOddY THL AO GOA TAL 


-FOUNDERS, No. 13 CHAMBERS-StreET, NEW-YORK. 


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GEORGE BRUCE’S SON & CO., Typ: 


107 


Minion, No, 21. 


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WOTM0EdS GAL TO GOING WHY, 


WITH 7 TO PICA LEADS. 


SOLID. 


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40 GOINag THY, 


WITH 6 TO PICA LEADS. 


SOLID. 


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qnq ‘Saoqueyny somvu oy “Aropovys 


gO GOIuag THY, 


GEORGE BRUCE’S SON & CO., Type-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 


109 


Minton, No. 21. 


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‘WATAODdY THo 


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HO GOINag THY, 


WITH 7 TO PICA LEADS. 


SOLID. 


‘apei} oy} TOF seotsmyeur Fo 
ao sedéy4 Fo roinzoRjnuRU vB se ‘QUe}xXO eUTOS 
07 ‘ssouIsnd Surop sea oy ‘ayep sty} ye WeAd 
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40 GoIuag THY, 


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GEORGE BRUCE’S SON & CO., Type-Founprers, No. 13 CHamBers-STREET, NEW-YORK, 


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110 Nonparein, No. 11. 


THE PERIOD OF THE SPECULUM. 


showing the first steps in an immature invention, his books truly show the 
degradation of a perfect method. They show the ignorance of a badly-taught 
typographic printer, and the prejudices of an old block-printer who had 
adopted the newer method with reluctance. We have seen that Walther’s 
edition of the Bible of the Poor is every way inferior to the first edition, and 
have drawn from it the conclusion that there was a wonderful degradation of 
the art of engraving on wood. When we establish a comparison between the 
great Bible of Gutenberg and the Speculum of the unknown printer we have 
similar premises, and have to form the similar conclusion, that the arts do 
not always improve with age, and that the pupil or the imitator is often in- 
ferior to the master. 

The evidences in favor of the priority of the unknown printer are very 
slight. It may be conceded that he was the first printer of the Netherlands, 
but it has not been proved, nor is it probable, that he printed with types ear- 
lier than the year 1463. Still more improbable is the assumption that he was 
an independent inventor of printing. We have to judge of the merits of this 
pretended invention as we do of every other—by its fruits. It had no fruit. 
The facts that this unknown printer made no mark on his age—that he left 
no work worthy of his alleged invention—that he was noticed, nor was his 
printed work, by any of the chroniclers of his day—that he had no pupils, 
no successors, no imitators—should be sufficient to prove that he was not 
an inventor but an imitator. 

By many authors the question of his possible priority has been decided, not 
from an examination of known and proved facts, but from the assertions of 
prejudiced and untrustworthy witnesses. The frequent presentation of the 
statement of the Cologne Chronicle, and of the legends that find their support 
init, has not been without effect. Their is a general belief in the tradition that 
types were first made in Haarlem by Coster, and that the German method 


‘dITOS 


WITH 7 TO PICA LEADS. 


XVII 
THE LEGEND OF LOURENS JANSZOON COSTER. 


Coornhert’s Notice of Printing in Haarlem... Notice by Van Zuren... By Guicciardini...The , 
Statement of Junius... Fac-simile of Scriverius’s Portrait of Coster... Sketch of Junius’s 
Life and Works... Examination of his Statement... Vagueness of the Date... Junius’s Story 
Incredible... Wood Types could not be Used... Metal Types made too soon... This Story 
an Imitation of a Spurious German Story... Fust was not the Thief... Absurdity of the 
Accusation.... Evidence of Cornelis.... Our knowledge of Cornelis from other Sources. 
Cornelis not an Eye-Witness...Talesius not a Satisfactory Witness... Disappearance of the 
Art more Wonderful than its Invention... Legend Cherished for Patriotic Reasons... Its 
Growth and its Exaggerations. 


He who is satisfied, as regards a fact like that of the invention of typography, with the simple 
assertion of people who talk of things which are said to have happened more than a century 
before their time, is destitute of scientific morality: he is ignorant of the passion of truth ; 
in short, he belongs to the plebeians. We have not only the right to reject the fable fabricated 
by Junius,... but as honest men we are bound to do it.—Van der Linde. 


In the year 1561, Jan Van Zuren and Dierick Coornhert, with other part- 
ners, set up a printing office in Haarlem. Van Zuren was a native and 
burgomaster of the town of Amsterdam; Coornhert, who was a notary 
and an engraver, is said to have been the instructor of the famous en- 
graver Goltzius. Their first book was an edition of Cicero de Ofjciis, to 
which they prefixed the following quaint dedication: 

“To the burgomaster, sheriffs and councilors 


of the town of Haarlem, D. V. Coornhert 


THE TOWNS AND CITIES 
OF 
THE NETHERLANDS 
IN WHICH 
PRINTING OFFICES WERE ESTABLISHED 
DURING THE 


FIFTEENTH CENTURY. 


[From Holtrop.] 


wishes as his honorable and commanding 
masters, salvation to soul and body. 


“*T was often told, in good faith, honorable, 
wise, and prudent gentlemen, that the useful art 
of printing books was invented first of all here 
at Haarlem although in a very crude way, as 
it is easier to improve on an invention than 
to invent; which art haying been brought to 
Mentz by an unfaithful servant, was very much 
improved there, whereby this town, on account 
of its first having spread it, gained such a rep- 
utation for the invention of this art, that our | 
fellow-citizens find very little credence when 
they ascribe this honor to the true inventor, 


———— 


as it is believed by many here on incontestable 
information, and is undoubtedly known to the 
elder citizens. Nor am I ignorant that this 
fame of Mentz has taken so deeply root in the 
opinion of all, by the heedless carelessness of 
our forefathers, that no proof, however appar- 
ent, however clear, however blameless it may 
be, would be capable of removing this inveter- 
ate impression from the hearts of the people. 
But—for truth is no less truth when known 
only to a few, and because I implicitly believe 
what I have said before, on account of the 
trustworthy evidence of very old, dignified, 
and grey heads, who often told me not only the 


was the outgrowth of the Dutch method. This proposition has been repeated 
so frequently and so confidently that it becomes necessary to give a critical 
examination to the legend of printing in Haarlem. 


THE EARLIEST PRINTERS IN THE NETHERLANDS. 


Utrecht. ..-.. Nicholas Ketelaer.. =9 y474 Deventer ....Richard Paffroed..... 1477-1500 
Gerard de Leempt - } 1473-1474 Jacques de Breda .... 1485-1500 
William Hees ......-. 1475 Delt ees... Jacob Jacobzoon. .... 1477-1479 
John Veldener. ...... 1478-1481 J. Van der Meer..... 1480-1487 
PORE asch ones pone EN ese wie 7 isa Unnamed Printer .... 1488-1494 
jerry Martens ..... saint Maar- rm 
Louvain ..... John Veldener....... 1473-1477 tensdyk.. ; Werrecoren ....-..-- Teas 
John of Westphalia.. 1474-1496 Nimeguen ...Gerard Leempt . 1479 
Conrad Braem ....... 1475-1481 Zwoll ......-. Unknown Printer.... 1479 
Conrad of Westphalia 1476 Peter von Os......... 1480-1500 
Hermann of Nassau, 1483 Audenarde ..Arn. ’Empereur..... 1480-1482 
Rudolph Loeffs. . . Hasselt ....-- Pereg. Bermentlo.... 1480-1481 
Egidius van der 1485-1488 Antwerp. ...- Matt. Van der Goes.. 1482-1491 
Z Gerard Leeu ......... 1484-1493 
- 1488 Thierry Martens. .... 1493-1497 
- 1498-1500 Leyden Henry Henr 1483-1484 
Brotherhood of 1476-1497 Gand .- Arnold |’Empereur .. 1483-1489 


Life-in-Common. . = 
Gouda ...-.-. Gerard Leeu.......2. Fue Bois-le-Duc ..Gerard Leemp 
86 


Culenbu - 1483-1484 


Godfrey de Os........ Schoonhoven Brotherhood .. 


Godfrey de Ghemen. Schiedam .-.. Unnamed Printer.... 1498-1500 
Unnamed Printer.... 1486 Haarlem. ....Jacob Bellaert. ...... 1483-1486 
Bruges.......- Coe pets wate 1475-1484 Jan Andrieszoon .... 1486 
TO. aoe ces 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 


WITH 7 TO PICA LEADS. 


- : family of the inventor, but also his name and 
surname, and explained the first erude way of 
printing, and pointed with their finger the house of the first printer out to 
me—TI could not help mentioning this in few words, not as an envier of 
another's glory, but as a lover of truth, and to the promotion of the 
honor of this town; which proper and just ambition seems to have also 
been the cause for the re-establishment and re-commencement of this 
printing office (as a shoot from the root of an old tree). For it often 
happened, when the citizens talked to each other about this case, that 
they complained that others enjoyed this glory unjustly, and (as they said) 
without anybody contradicting them, because no one exercised printing 
in this town.’” Hessels’ translation as given in the Haarlem Legend, p. 50. 
The claim of Haarlem to the invention of printing is confidently stated, 
but Coornhert has neglected to give the name or describe the process of 
the inventor, to fix the date of the invention, or to specify any of its- 
products. He and his venerable informants, the “honorable, wise and 
prudent gentlemen,” knew all these matters, but Coornhert prudently 
kept silence. It is worthy of notice that Coornhert admits that, in 1561, 
“the fame of Mentz” had taken so deep a root in the minds of many 
people that no proof could remove it. 

A full notice of the details of early printing might have been considered 
out of place in the preface to a classic text book, but it would have been — 
pertinent in a ‘‘ Dialogue on the First Invention of the Typographic Art,” 
which was the title of a book said to haye been written by Jan Van 
Zuren. Of this dialogue nothing is known but the introduction. Whether 


Nonparein, No. 11. 111 


THE LEGEND OF COSTER. 


the author grew weary of his task, and abandoned it before completion, or 
whether the manuscript was destroyed, as is alleged, during the seige of Haar- 
lem in 1573, cannot now be ascertained. All we know of this manuscript is 
through Peter Scriverius, who, diligently gleaning every scrap of history that 
favors the Haarlem invention, has preserved the preface. It is too long and 
rambling for a literal translation; this is the substance, which Van Zuren 
approached with great delicacy : 

“He does not wish to deprive Mentz of its rightful honors, but he will see 
that the honors of Haarlem are not altogether lost. The town of Mentz, so 
justly lauded, first introduced this art, received from us, in public life. The 
first crude foundations of this excellent art were laid in our town of Haarlem. 
Here the art of printing was born. No doubt it was here carefully cultivated 
and improved; here it remained during many years, until at last it accom- 
pained a foreigner and made, at last, its public appearance at Mentz.” 

Here again is a noticeable absence of names, dates, books, evidences and 
authorities.1 From beginning to end there is nothing in this statement but 
naked assertion. 

One fact of real value may be gleaned from the preface of Van Zuren and 
the dedication of Coornhert. There was even then in Haarlem a strong pre- 
judice against Mentz; there was a wavering belief among some of the towns- 

olk that printing had been invented in Haarlem, and that the pretension of 

Mentz was unfounded. Whether this prejudice had been fostered by the 
obscure language of Zell, or whether it took its rise in’ the conceit of the 
simple people of the town, who may have thought that Bellaert, the first 
printer at Haarlem, was also the first printer in the world, cannot now be 
ascertained. ‘There was a prejudice, and Van Zuren and Coornhert thought 
that it would be to their interest as printers to propitiate it. 

The publication of these mysterious allusions to an early printer in Haar- 
lem strengthened the belief of Hollanders in the legend. It was imposed as 
veritable history on intelligent foreigners who were unable to disprove it. 
Luigi Guicciardini, a Florentine nobleman, for many years resident of Ant- 
werp, and who there wrote and published, in 1567, a Description of the Low 
Countries, was the first author of distinction who gave a world-wide publicity 
to the legend. In his book he says: 

“ According to the common tradition of the inhabitants and the assertion 
of other natives of Holland, as well as the testimony of certain authors and 
records, it appears that the art of printing and stamping letters and characters 


1The comments of a modern critic on the 
strange omissions of this positive statement 
are to the point: 

“This forgetfulness of Coornhert has always 
seemed to me one of the most striking pecu- 
liarities of the Haarlem legend. How can it 
be! Here is a man, very learned, very patri- 
otic, who Sy pEeciates the importance of the 
discovery, who contends with zeal to establish 
for his country the honor of being the cradle 


_ of the greatest of modern inventions. He 


knows the name, the family name and the 
family of the inventor, and he does not divulge 


belief. And what shall we say of the burgo- 
master Van Zuren? He writes a special trea- 
tise to retrieve the glory of the invention to 
the honor of the city of which he is a magis- 
trate, but it never occurs to him that he should 
honor the memory of the inventor—I will 
not say by a monument of some kind, for that 
might be demanding altogether too much— 
but at least by a mention, by some souvenir, 
by giving his name to some street. or still less, 
by a simple record ina book. It is not lisse 
ple to find another example of a forgetfulness 
so incredible.” C. Ruelens, Bibliophile Belge. 


them to his fellow-citizens! This surpasses vol. 11, 1868. 


. 


THE LEGEND OF COSTER. 


on paper in the manner now used, was first invented in this place [Haarlem]. 
But the author of the invention happening to die before the art was brought 
to perfection and had acquired repute, his servant, they say, went to reside 
at Mantz, where, giving proofs of his knowledge in that science, he was joy- 
fully received, and where, having applied himself to the business with unre- 
mitting diligence, it became at length generally known, and was brought to 
entire perfection, in consequence of which the fame afterward spread abroad 
and became general that the art and science of printing originated in that city. 
What is really the truth I am not able, nor will I take upon me to decide, 
it sufficing me to have said these few words that I might not be guilty of in- 
justice toward this town and this country.” Ottley’s translation as quoted in 
ohnson’s Typographia, vol. 1, p. 12. , 

The story is told as it had been heard, without comment, and without hearty 
belief.. It will be noticed that no really important fact has been added to 
supplement the previous story. We are still in the dark as to the name of 
the printer, the date of the invention, and the titles of his books. The authors 
mentioned by Guicciardini were probably Coornhert and Van Zuren; the 
inhabitants who gave him information were probably the same men who had 
previously given it to these printers. Guicciardini’s story differs from theirs 
in one point only. His description of the translation of typography from 
Haarlem to Mentz does not impute dishonesty to the workman who carried 
it thither. The insinuated accusation of theft was not repeated by the seru- 
pulous Italian. ! , 

Guicciardini’s book, which was of marked merit, was published in an age 
of credulity. It was translated and reprinted in many languages. This legend 
‘of an unnamed inventor at Haarlem was taken up by other writers. Tt was 
published as valid history by George Braunius of Cologne, in his geography, 
dated 1570-88; by Michael Eytzinger of Cologne, in a book on the N etherlands, 
dated 1584; by Matthew Quade of Cologne, in a compend of history and geog- 
raphy dated 1600; by Noel Conti of Venice, in a universal history, dated 1572. 
These authors have been frequently quoted as men who had examined and 
confirmed the legend; but it is obvious that they copied the statements of 
Guicciardini without investigation. Their approval of the legend must be 
considered as an exhibition of credulity rather than of knowledge. 

The specification of the name of the alleged proto-typographer of Haarlem 
was made for the first time in a book now known as Batavia, which was 
published in 1588, and of which Hadrianus Junius or Adrien de Jonghe was 
the author. The story of the invention, as here related, is far from complete, 
but it is positive and definite: it gives the time, the place, the book and the man. 
It can be fairly shown only in an unabridged translation of the author’s words: 

“ About one hundred and twenty-eight years ago, there dwelt in a house of 


“some magnificence (as may be verified by inspection, for it stands intact to 


this day) in Haarlem, near to the market, and opposite the royal palace, 
Laurentius Joannes, surnamed Alditus or Custos, by reason of this lucrative 
and honorable office, which by hereditary right appertained to the distin- 
guished family of this name. To this man should revert the wrested honor of 
the invention of the typographic art, which has been wrongfully enjoyed by 
others. A just judgment should give to him before all others, the laurel 
which he has deserved as the most successful contestant. 


‘dITOS 


‘dITOSs 


WITH 8 TO PICA LEADS. 


WITH 8 TO PICA LEADS. 


THE LEGEND OF COSTER. 


“When strolling in the woods near the city, as citizens who enjoyed 
ease were accustomed to do after dinner and on holidays, it happened 
that he undertook as an experiment to fashion the bark of a beech tree 
in the form of letters. The letters so made he impressed the reverse way, 
consecutively, upon a leaf of paper, in little lines of one kind and another, 
and the kindness of his nature induced him to give them, as a keepsake, 
to the grandchildren of his son-in-law [Thomas Pieterzoon]. He had sue- 
ceeded so happily in this that he aspired to greater things, as became a 
man of cultivated and enlarged capacities. By the aid of his son-in-law, 
Thomas Pieterzoon, to whom were left four children, most of whom 
attained the dignity of burgomaster (I say this that all the world may 
know that this art was invented in a reputable and honorable family, 
and not among plebeians), he invented, first of all, an ink thicker and 
more viscid than that of the scribes, for he found that the common ink 
spread or blotted. Thereupon he made, by the addition of letters, ex- 
planations for pictures engraved on wood. 

“Of this kind of printing I myself have seen some stamped block-books, 
the first essays of the art, printed on one side only, with the printed 
pages facing each other, and not upon both sides of the leaf. Among 
them was a book in the vernacular, written by an unknown author, bear- 
ing the title of Spieghel onzer behoudenis [the edition in Dutch of the 
Speculum Salutis]. This book was among the @ b e’s of the art—for an 
art is never perfected at its inception—and the blank sides of the leaf 
were united by paste, to hide the uncouthness of the unprinted pages. 
He subsequently changed the beech-wood letters for those of lead, and 
these again for letters of tin, because tin was a less flexible material, 
harder, and more durable. To this day may be seen in the very house 
itself, looking over on the market-place as I have said (inhabited after- 
ward by his great-grandchild, Gerrit Thomaszoon, who departed this life 
but a few years since, and whom I mention only to honor), some very 
old wine flagons, which were made from the melting down of the rem- 
nants of these very types. 

“The new invention met with favor from the public, as it deserved, and 
the new merchandise, never before seen, attracted purchasers from every 
direction, and produced abundant profit. As the admiration of the art 
inereased, the work increased. He added assistants to his band of work- 
men; and here may be found the cause of his troubles. Among these 
workmen was a certain John. Whether or not; as suspicion alleges, he 
was Faust—inauspicious name for one who was equally unfortunate and 


THE LEGEND OF COSTER. 


unfaithful to his master'—or whether he was another of the same name, 
I shall not trouble myself to ascertain—for I am unwilling to disturb the 
shades of the dead, inasmuch as they? must have suffered from the re- 
proaches of conscience as long as they lived. This man, although bound 
by oath to [preserving the secrets of] the typographic art, when he knew 
himself to be perfectly skilled in the operations of type-setting, in the 
knowledge of type-founding, and in every other detail appertaining to the 
work, seized the first favorable opportunity—and he could not have found 
a time more favorable, for it was on the night of the anniversary of the 
nativity of Christ, when all, without distinction, are accustomed to assist 
at divine service—and flew into the closet of the types, and packed up 
the instruments used in making them that belonged to his master, and 
which had been made with his own hands, and immediately after slunk 
away from the house with the thief. He went first to Amsterdam, thence 
to Cologne, and finally regained Mentz, as it were to an altar of safety so 
it is said, and as if beyond all possibility of a recapture, where, having 
opened his office, he reaped an abundant reward from the fruits of his 
theft. That is to say, within the space of a year, or about 1442, it is well 
known that he published by the aid of the same types which Laurentius 
had used in Haarlem, the Doctrinal of Alexander Gallus, the most popular 
grammar then in use, and also the Zreatises of Peter of Spain, which 
were his first publications. 

“These are the facts. Nearly all of them are from old men worthy of 
belief, who, each in turn, have accepted and transmitted them, as they 
would pass a lighted torch from hand to hand. I knew these facts long 
time ago, and have positive knowledge from other sources which have 
attested and confirmed them. I remember that Nicholas Gallius, the 
preceptor of my boyhood, a man of tenacious memory, and venerable with 
grey hairs, narrated these circumstances to me. He, when a boy, had 
more than once heard Cornelis, an old bookbinder and an under workman 
in the same printing office, when not an octogenarian and bowed down 
with years, recite all these details as he had received them from his 
master, embracing the inception of the enterprise, the growth and culti- 
vation of the rude art, and other transactions connected therewith. But 

1An attempted play or pun on the Latin as the thief, the story ends with an intimation 
faustus, bappy. But the German printer’s that there were two thieves. This substitution 
name was not Faust, but Fust. This pun was of they for he is not a typographical error, nor 
the origin of the error. is it a slip of the pen. It seems to have been 

2In Junius’s description of the thief, there intended to sustain the insinuation of the com- 


is a strange confusion of singular and plural. _ plicity of Fust in this theft. 
Beginning with the specification of one John 


GEORGE BRUCE’S SON & CO., Type-Founpers, No. 13 CHamMBers-StrEET, NEW-YORK. 


oe 


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Mi iis 


pay er bier “ate: 


a ong ne, 


y ae VOM es 


a7 


112 


NonpareiL, No. 11. 


THe LEGEND OF COSTER. 


as often as he made mention of the 
theft, he involuntarily would burst 
into tears at the recollection of the 
infamy of the sequel; and then the 
anger of the old man would flash up, 
as he thought of the glory of the in- 
vention that had been stolen with the 
other theft; and he wished, if his life 
had been spared, that he might have 
been able to set forth the thief in irons, 
ready to be pronounced a subject for 
the executioner; and then again he 
was wont to consign his sacrilegious 
head to the direst punishment, and to 
curse and execrate the nights which 
he had passed upon the same bed for 
many months with that villain. These 
details do not disagree with the words 
of Quirinius Talesius, burgomaster ; 
for I acknowledge that a long time ago 
I received nearly the same story from 
him as was received from the mouth 
of the bookbinder.”’ 

The full title of the book from which 
this translation was madeis Hadriani 
» Ivunii Hornani, Medici Batavia. In 
qua preter gentis & insulee antiquita- 
tem, originem, decora, mores, aliaque, 
ad eam historiam pertinantia declara- 
tur que fuerit vetus Batavia. Bx. offic. 
Plantiniana, 1588, 4to. Hadrianus 
Junius was born at Hoorn, in the year 
1511. His education, as a boy, was 
received at a grammar school in Haar- 
lem ; as a young man at the university 
of Louvain. In 1537, with one Martin 
Costerus, he made a tour in foreign 
countries. In 1540, he obtained from 
the university of Bologna the degree 
of doctor of medicine. Two years 
afterward he was living in Paris. In 
1543 he went to England, and for six 
years succeeding, he was employed as 
physician to the duke of Norfolk. 
Soon after the death of the duke, he 
published in London a Greek lexicon, 
which enhanced his reputation as a 
scholar, but did not mend his fortunes. 
» In 1559 he returned to Haarlem, where 


Poland and Denmark. William of 
Orange sent from Delft for his ser- 
vices as a physician: at a meeting of 
the deputies from the States, he nom- 
inated Junius as the historian of Hol- 
land. In 1574 he was made town phy- 
sician at Middleburg, with a liberal 
salary and a free living. When Haar- 
lem was captured in 1573 by the Span- 
iards, the library of Junius was plun- 
dered, and many of his manuscripts 
were destroyed. He took this calamity 
greatly to heart, and died at Arne- 
muiden in 1575. Justus Lipsius said 
he was the most learned Netherlander 
after Erasmus. 

The story of Junius is the real foun- 
dation of the modern legend of Haar- 
lem. All that had been written before 
is of little value; all that has been 
written since is but in explanation of 
its obscurer features. Before ‘any 
criticism is given to this important 
document, the capability and credibil- 
ity of the learned author of Batavia 
should be considered. 

The learning of Junius cannot be 
questioned; but Junius must be 
judged not by his dead reputation, but 
by his living performance. Batavia, 
although written in unexceptionable 
classic Latin, is not a valuable, nor 
even a mediocre book. The author 
was not above the pedantry and the 
bad taste of his age. His book is full 
of classical allusions, lugged in, not 
to illustrate the subject, but to display 
the author’s omnivorous reading; his 
style is rhetorical, and his arrange- 
ment of facts is bewildering. 

The publication of Batavia, the 
work upon which the fame of Junius 
rests, seems to have been suggested to 
William of Orange by Junius himself, 
who expected to receive from the 
States a salary for his services as his- 
torian. In 1565, the question of salary, 
first named at 200 pounds of 40 groots, 
was put to vote. The prudence of the 
Dutch character is shown in the de- 
liberations of the deputies. Haarlem, 


he married a lady of wealth. Three 
years after his marriage he accepted 
the appointment of tutor to the crown 
prince of Denmark, but finding that 
*the position or the climate was dis- 
agreeable, he resigned the office. In 
1563 he was appointed town physician, 
and rector of the Latin grammar 
school at Haarlem, which appoint- 
ments he held until 1569. About this 
period he wrote Vomenclator, a lexicon 
in eight languages, and Batavia, a 
description of Holland. At various 
times he was formally invited to enter 
the service of the kings of Hungary, 


‘aITOS 


WITH 7 TO PICA LEADS. 


THE LEGEND OF COSTER. 


first book of the history. The petition 
was not favorably received, and its 
consideration was postponed for one 
year, at which time it was finally de- 
cided by the deputies to pay Junius 
300 guilders, to prohibit him from pub- 
lishing the first volume of the book 
with a dedication to the States, and 
to release him from all obligation to 
continue the work. This disparaging 
treatment of the author prevented the 
publication of the book with the com- 


We Bee (ffrgies of Laurenz Lans. Kofter.Delineated “MEMORIA 


from hus Monumentall Stone Sta 


tue, Erected at 


SACRVM,. 


LAVRENTIO 
COSTERO, 
HARLEMENSE, 
ALTERI CADMO; 
ET ARTIS 
TY POGRAPHICA 
CIRCA AN. DOM. 
im COCC. xXx 
| INVENTORE 
PRIMO, 


BENE Dé LITERIS 

AC ToTco ORBE 

| MERENTLHANC | 
Q:L.C-Q- 


STATVAM,QVIA! 
| AREA AVT MAR: 
MUREA DE FVEL, 
IROMONVMEN: 
Oo POSVIT CIVIS 
GRATTSSIMVS | 


iN 


SSA 


> 
Ui pe >. WISE 
LEY TF OO) SSS 7; 
He LW) \.\” SSS 
eee REA HWS SS = 
/ 


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a! 


Delft, Leyden, and Gouda assented; 
Dordrecht and Amsterdam requested 
time for its consideration. Dordrecht 
afterward consented, but on condition 
that the money should be paid out of 
the taxes; that Junius should publish 
a volume every year; and that he 
should publish nothing without the 
approval of the States. In the mean- 
time other States receded from their 
action, saying that the publication was 
ill-timed during a period of general 
distress. After some influences had 
been used, the States gave a grudging 
and qualified assent. In 1570, Junius 
petitioned for the payment of 200 
guilders, as he had then finished the 


‘dI'T0$ 


[From Moxon.] 


WITH 7 TO PICA LEADS. 


y 
RY 
i 
iy 
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‘' 
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Libaes 
ALE 


bread, and that the transubstantiation 
was made by a curse. He formally 
records the delivery by one Margaret, 
countess of Hennenberg, of 365 babies 
—a miracle, writes Van der Linde, 
“that makes you think of an upset 
pot of shrimps.” Junius adds that 
this would be a miracle beyond belief, 
if it had not been attested by the au- 
thority of public monuments... but he 
accepts the common belief. These 
examples of the credulousness of the 
author of Batavia warn us not to ac- 


"reo 8 


pleteness and at the time Junius had 
proposed. After his death the manu- 
seripts of Batavia were collected and 
transcribed by his son Peter, who, 
with Peter Douza, undertook the pub- 
lication. The book was published 
during 1588, from the office of Chris- 
topher Plantin, at Antwerp. The se- 
lection of a printer in a neighboring 
city shows that there was then no 
competent printer at Haarlem. It is 
evidence of the indifference of the peo- 
ple of Haarlem toward typography. 

These faults would be overlooked, 
if we could be sure of his so-called 
facts; but one cannot read many 
pages of Batavia without being con- 
vinced of the credulity of the author, 
and of the thorough untrustworthi- 
ness of many of his descriptions. His 
defenders must confess that the book 
would have been of higher authority, 
if he had been more chary of rhetoric 
and more exact in description. 

He relates, not as a legend, but as 
veritable history, that the virgin Soter, 
who possessed but three pennies, gave 
them for the building of a church in 
Dordrecht. Other three pennies were 
miraculously and regularly found in 
her purse, and-were as regularly be- 
stowed, until the church was built. 
He repeats, with simplicity, the story 
of the eleven thousand virgins of Co- 
logne, who came from England to the 
now unknown port of Verona in Hol- 
land. He says that a certain stone in 
a church at Leyden was once a loaf of 


cept his criticisms on other traditions. 
Junius begins his description of print- 
ing at Haarlem with a solemn decla- 
ration of his intention to tell the truth. 
The declaration of candor is not need- 
ed: what the reader of Batavia does 
need is, not the protestation of the in- 
tention of the author to tell the truth, 
but some conyincing evidence of his 
ability to distinguish the true from 
the false. His preface is very long, pe- 
dantic, and in every way irrelevant, as 
may be inferred from a glance at the 
following classical names which he has 
sprinkled in the first paragraph: Car- 
neades, the Daughter of Time, Demo- 
critus, Phoenicians and Egyptians, 
Cadmus, Athenians, Greeks and The- 
bans, Cecrops, Philostratus, Linus, 
Tacitus, Palamedes, Hyginus, Car- 
menta, Evander, Crassus, Sczevola and 
Plutarch ! 

The fixing of the period in which 
the inventor lived seems to have been 
made with a studied carelessness and 
intended obscurity. If we deduct the 
128 years from the year 1568, the year 
in which the manuscript of Batavia 
was completed, we have the date 1440. 
In this year Coster lived. When he 
was born, when he died, and how long 
he had been occupied with the practice 
of printing, is not related. If we infer 
that Junius intended that this year 
1440 should be considered as the year 
of Coster’s death, the inference is 
purely conjectural. He does not say 
so. It may be supposed, but it is not 
said, that Coster printed with types 
before 1440. Whatever may have been 


GEORGE BRUCE’S SON & CO., Typn-FounDERS, No. 13 CHampBers-Strent NEW-YORK. 


NONPAREIL, No. 11. 


THE LEGEND OF COSTER. 


the intention of Junius, the year 1440 
was at first accepted by the authorities 
of Haarlem as the true date of the in- 
vention of typography.! It was thought 
that the fixing of the invention within 
this year would sufficiently establish 
the priority of Coster, for the year 
1442 was the date then assigned to the 
rival invention in Germany. The an- 
thority of Junius for the year 1440 
was, no doubt, a pedigree of the Coster 
family, of which he makes no mention. 

There are troublesome entangle- 
ments connected with this date of 
1440. Subsequent defenders of the 
legend, who tried to supply the defici- 
encies and correct the errors of Junius, 
made discoveries which compelled 
them to acknowledge that Lourens 
Janszoon (supposed by them to be 
Lourens Janszoon Coster) died in the 
year 1439. If he died in 1439, and if 
we believe that the invention was 
made in 1440, then he did his typo- 
rene work in the year after his 

eath.2 The absurdity of this date 
was clearly perceived when it was 
afterward discovered that Gutenberg 


1In the year 1630, Adrien Rooman, of Haar- 
lem, published a print which contained the 
engraved representation of a printing office, to 
which he put the words — “ Invented at Haar- 


lem about 1430 ;’— “‘ The magistrates and cit - 


izens of Haarlem, in everlasting remembrance 
of the event and the man,” erected a monu- 
ment in front of the Coster house, with an in- 
scription on it, which fixed the date at 1440. 

2Lambinet_ caustically observes that the 
romance of Junius obeys the dramatic law 
of unity, in time, place, and hero; the type. 
graphic art is invented in one day. The 
vague language of Junius has been used as a 
proper warrant for a very liberal construction 
of the date. When Van Lennep objected, in 
1823, to the chimerical year of the invention, 
1423, fixed upon by a Haarlem committee, the 
gyuod enjoined him: “If he will again care- 

lly read the account of Junius, and not for- 
sake, out of his prejudice, all common sense, he 
will plainly see himself, and be obliged to ac- 
knowledge that Junius said not a single word 
about the time of the invention.” an der 
Linde, The Haarlem Legend, p. 68. 


had been engaged as early as 1436 in 
experiments with printing. To pre- 
serve the appearance of probability, 
the date of the invention was removed 
to 1423, so as to allow Coster time for 
experiment and for the perfection of 
his invention. 

The name of the inventor is as un- 
certain as the date of the invention. 
Junius names him Laurentius Johan- 
nes, surnamed Aldituus, or Custos. 
In the pedigree, the name was written 
Lourens Janssoens Coster. Surnames 
were not then in common use; the son 
was identified through a name which 
described him in words as the son of 
his father. Lourens Janssoen Coster 
is literally, Lourens, son of John, the 
keeper, or the sexton. He is most 
widely known in typographical litera- 
ture by the name of Coster. 

There has been much dispute con- 
cerning the functions of this keeper. 
Junius says that this Lourens Jans- 
zoon. was the keeper of a church; that 
this keepership was an honorary office 
which belonged to Coster’s family by 
hereditary right. The duties of the 
office seem to have been those of 
a church trustee. Some writers say 
that this custos was nothing more 
than a sexton, but it is of no moment 
whether custos means sexton or trus- 
tee. The care with which Junius in- 
troduces evidences of the respectabil- 
ity of Coster’s house and the dignity 
of his family implies his fear that 
there might be, on the part of a heed- 
less reader, some doubt concerning the 
social position of a custos. Nothing 
is said of the ancestors of Coster. 
Probably, there was reason for this 
omission. Coster’s distinction in Haar- 
lem was not that of patrician birth. 
His wealth was not, so far as we can 
learn, derived from inheritance, nor 
could it have been acquired through 
the emoluments of a custos, which 
was an honorary but not a lucrative 


THE LEGEND OF COSTER. 


office. He had been engaged in some 
oceupation which Junius considered 
derogatory to his dignity. Of this oc- 
cupation we shall hear more hereafter. 

y the record, it appears that Cos- 
ter was both a printer and a publisher. 
He cut blocks and made types, he mix- 
ed printing inks, he printed books, he 
employed many workmen, he had an 
honorable reputation as a printer, and 
he reaped abundant profit from the 
sale of his merchandise. These state- 
ments are inconsistent with the eulogy 
which represents him as an idle man 
who experimented with types for 
amusement.! 

That Coster knew nothing whatever 
about printing when he took his walk 
in the wood may be properly inferred 
from a careful reading of the story. 
His experiments with bark seem to 
have surprised and amused him as 
much as they did his grandchildren. 
There is nothing unreasonable in this 
part of the legend, but faith fails us 
When Junius says that Coster printed 
his book with types of wood. The 
statement must be put aside as en- 
tirely unworthy of belief, for it has 
been shown that types of wood are 


* impracticable, and that the types of 


every known edition of the Speculum 


were made of founded metal. 


Tf Junius had not said that Coster 
changed the characters of wood for 
letters of lead and of tin, and that the 
false workman was expert in com- 
posing letters and in founding types, 
there might be some doubt whether 
these characters of wood were made 


1 The assurances of his wealth, leisure and 
respectability seem to have been rovoked by 
the published statements, with which Junius 
was familiar, that Setting 8 the rival Ger- 
man inventor, was of noble birth. It is not 
the only instance in which the Dutch legend 
is the echo of the German Wieane The first 
coincidence is that Coster, like Fust, was in- 
debted to his son-in-law for valuable assistance 
in perfecting typography. And both sons-in- 
law were named Peter. 


disconnected or conjoined. His lan- 
guage is obscure, for he has used the 
words form and character as the equiv- 
alent of type, where these words could 
be applied with equal propriety to a 
letter engraved on a block. This ob- 
security was not caused by the poverty 
of the Latin language, for he after- 
ward described types with cleayness. 
There was obviously some confusion 
in the mind of Junius. It is not cer- 
tain that he clearly understood the 
broad difference between typography 
and xylography; it is certain that he 
intended to convey the idea that Cos- 
ter was the inventor of peng in its 
broadest’ sense —the inventor of print- 
ing from blocks as well as from mov- 
able types. The absurdity of this 
broad claim must be obvious to all 
who have read about early image 
prints and playing cards and the print- 
ed fabries of Italy and Sicily. 

No part of Junius’s statement is 
more incredible than his description 
of the ease with which Coster solved 
the problem of typography. Coster 
knew nothing of printing; but having 
carved a few letters on bark, and 
having cherished the idea that books 
could be printed from single types, he 
undertook to make—not types, but 
wood-ents. Eager to realize his idea 
of typography, he began work with a 
formidable task of engraving. Here 
is an absurdity. To design, engrave, 
and print the illustrations of the Spee- 
ulum was a task almost as great as 
that of making the types. If the en- 
gravings were not in the possession of 
Coster before he made this experiment 


(and Junius does not authorize this . 


hypothesis), it is not possible that he 
could have added to his task by at- 
tempting so many large wood-cuts. 
What follows is equally incredible. He 
passed from the work of cutting letters 
and pictures to that of making types 
without hesitation or experimenta- 


‘aITOS 


‘aITOS 


WITH 8 TO PICA LEADS. 


WITH 8 TO PICA LEADS. 


113 


THE LEGEND OF COSTER. 


tion; he struck out the correct method 
of making the types at the outset. 
His only mistake with types was in 
the selection of materials; wood was 
laid aside for lead, and tin supplanted 
lead; his greatest difficulty was en- 
countered in the manufacture of the 
ink. If this story is true, then typog- 
raphy was invented through inspira- 
tion, for its origin was unlike that of 
all great mechanical inventions. 
Junius describes this pretended in- 
vention of typography, not as he knew 
it was done, but as he thought it 
should have been done. Ignorant of 
the necessity for that strict accuracy 
of body, which is the vital principle of 
typography, and which can be secured 
only by the most ingenious mechan- 
ism, he thought, as thousands have 
thought, that the merit of the inven- 
tion consisted in the conception of the 
idea. The construction of the mech- 
anism he has skipped over as a little 
matter of mechanical detail entirely 
unworthy of notice. He tells us noth- 
ing about it. He shows the extent 
of his reading and the weakness of 
his judgment, by treading in the foot- 
steps of German authors who at- 
tempted to describe the German in- 
vention of typography, not from posi- 
tive knowledge, but through the ex- 
ercise of a lively imagination. He 
makes Coster follow the road which 
they say was taken by Gutenberg: 
first, the types of wood; then, engrav- 
ed letters on blocks of wood; next, 
types of lead; lastly, types of tin. 


The wine-flagons of Thomaszoon 
may have had some features which 
earried conviction to the observer of 
the seventeenth century, but the mod- 
-ern reader of the story will fail to see 
that they should have been made of 
worn-out types. But the tin wine- 
flagons and the noticeable house on 
the market-place are not to be de- 
spised. Useless as proofs of the credi- 
bility of the legend of Junius, they 
illustrate to some extent the pedigree 
of the Coster family, a pedigree with 
which Junius was well acquainted, 
but for which he could find no place 
in his legend. These wine-flagons were 
the pewter pots of a tavern about a 
century old. 

The artful insinuation that John 
Fust was the false workman is dis- 
creditable. Junius does not unequi- 
voeally say that Fust was the thief, 
but his language authorizes the cal- 
umny. That John Fust of Mentz 
could not have stolen the implements 
of Coster will be positively established 
by records of the highest authority. 
The Dutch historians of typography 
who defend the story of Junius, say 
that Junius did not know the name 
of the real thief, but that the name of 
Fust is properly inserted, because Fust 
was honored as the inventor of typog- 
raphy in Mentz: that there was, prob- 
ably, a complicity between Fust and 
the false workman, and that Fust was, 
for that reason, properly mentioned as 
the real offender. 

There were many Johns among the 


THE LEGEND OF COSTER. 


early printers of Mentz: John Fust, 
John Gutenberg, John Petersheim, 
John Meydenbach. When it was 
thought proper to acquit Fust of this 
accusation, John Gutenberg was se- 
lected as the man; but the discovery of 
records which proved that Gutenberg 
was making experiments in typog- 
raphy at Strasburg during the year 
1436, compelled the withdrawal also 
of this accusation. Meerman, with a 
skill in casuistry equal to the occasion, 
then undertook to prove that there 
were two Gutenbergs—brothers, but 
with different surmames—Johan Gens- 
fleisch, the elder, and Johan Guten- 
berg, the younger; and that it was 
the elder brother who betrayed Coster 
and revealed the secret to John Guten- 
berg. It was a weak artifice. German 
historians have fully proved that Gut- 
enberg’s brother Frielo had nothing 
to do with typography; that John 
Gensfleisch, the elder, was an uncle, 
not a brother,—old, rich and blind— 
of all men, most incapable of any at- 
tempt at the purloining or practising 
of an intricate art like printing. There 
is no evidence to inculpate Petersheim 
or Meydenbach. 

The determination of Junius to fast- 
en this theft on Fust is shown in his 
statement that the thief regained or 
returned to Mentz, as to ‘the altar of 
safety.’ At that time Paris, Rome, 
and Venice had more schools and 
scholars, more book-readers and buy- 
ers than Mentz, and offered greater 
inducements for the founding of a 


printing office. These were the cities 
to which printers from Mentz subse- 
quently went, and to which a thievish 
printer from Haarlem should have 
gone. But Junius finds it necessary to 
send him to Mentz to explain theintro- 
duction of typography in Germany. 
The charge of theft is not corrobo- 
rated by the discoveries of bibliogra- 
phers. The two books which Junius 
says were printed in Mentz in 1442, 
with the types of Coster, cannot be 
traced to Mentz. Fragments of a copy 
of the Doctrinal of Alexander Gallus, 
the work of some unknown printer, 
have been found, not in Mentz, but in 


the Netherlands. The types of this . 


book resemble those of the Speculum, 
but they are sufficiently unlike to es- 
tablish the fact that they could not 
have been cast from the matrices 
used for the Speculum. This edition 
of the Doctrinal could not have been 
printed at Mentz. 

The zealous indignation of Cornelis 
does not compensate us for his myste- 
rious concealment of the name of the 
thief. His evidence is extremely un- 
satisfactory. Cornelis, who was in the 
employ of Coster when the theft was 
made, who knew the process, who 
bound the printed work, who was an 
old resident of Haarlem, who had busi- 
ness relations with every printer that 
succeeded Coster, of all men, should 
have been the one most competent to 
describe the work of Coster. But the 
information that he has furnished 
through Junius is ridiculously trivial, 


GEORGE BRUCE'S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK, 


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114 NonpAREIL, No. 12. 


THE LEGEND OF COSTER. 


scanty as to facts and dates, inconsistent, and, in the most important 
features, entirely untrue. 

The story of theft is not only improbable, but it is unsupported 
by external evidence. Jacobus Koning, a diligent searcher in the 
archives of Haarlem, discovered that, on and after Christmas day, 
1440, the constabulary of Haarlem were often sent to Amsterdam upon 
important business. The inference attempted is that the constables 
were in search of the workman who stole Coster’s implements. The 
records do not say that they were sent for a thief. Their business 
was of another nature. There had been a great mortality in Haarlem, 
and the officers of the town had left it while the pestilence was raging. 
The journeys of the constables were made to the temporary residences 
of the magistrates who, from a more healthy city, sent directions for 
the government of the town. Koning knew this fact but suppressed it. 

(The accusation of unfair practice, is frequently made by men who 
have been defeated in a fair contest. Whenever such an accusation is 
accompanied, as it was in this instance, with dramatic details, it effects 
a lodgment in the popular belief, from which it is not easily removed. 
Junius was not the first, nor the last, to use this discreditable but 
effective method of making-up a case. There is an old French record 
which narrates how Nicholas Jenson was sent from Paris to Mentz in 
the year 1458 to get a knowledge of the German invention. Jenson did 
acquire this knowledge, and became an eminent printer. His detrac- 
tors say that he stole the secret; his eulogists say that he learned 
nothing, but that he was the real inventor. The story of Richard 
Atkyns about the English theft is too full of absurdities for criticism. 
Sometime between 1520 and 1570, Daniel Specklin wrote a chronicle 
of Strasburg, in which he relates that printing was invented at that 
city in the year 1440, by John Mentel; that Mentel’s unfaithful servant, 
one John Gensfleisch, stole the secret, not the punches, and took it to 
Mentz. There is a popular legend in Italy that Pamphilo Castaldi 
invented types at Feltre in the year 1450; that John Fust, who 
happened to bein the town, abstracted the knowledge of the invention, 
carried it to Mentz, and arrogated the honors of the rightful inventor. ] 

Before we accept all that Junius has said about Cornelis, it will be 
well to learn what we can about him from other sources. The first 
entry in an account book of the cathedral of Haarlem for the year 1474 is 
to this effect: “‘Item...I have paid to Cornelis, the binder,! six Rhine 
florins for binding books.” Similar items, describing Cornelis as a 
bookbinder, are found in similar account books between the years 
1485 and 1515, Payments were also recorded to Cornelis for coloring 
the initial letters of the “bulls of the indulgences.” After the year 
1515 his name appears no longer as a bookbinder; in 1517 another bind- 
er did the work of the church. Seiz mentions an old book, printed 
by Jacob Bellaert of Haarlem in 1485, on the last leaf of which was 
written: “Bought at Haarlem in the Cruysstraet, of Cornelis the 
bookbinder, in May, 1492.” The register for the year 1522 contains this 


1It was on the inner cover or binding of typographical Donatus was found. See p, 90 
this account. book that the fragment of a of this work. 


THE LEGEND OF COSTER. 


entry: ‘‘Cornelis the bookbinder was buried in the church. For the 
making of his grave, twenty pence.” There can be no doubt that there 
was a bookbinder Cornelis at Haarlem, and that the Cornelis of Junius 
is the Cornelis of the church record. The dates in these records will 
peas us to test the accuracy of one portion of the chronology of the 
egend. 

Junius said that Cornelis told his story before he was an octogenarian. 
Eighty years might properly be considered as the limit of his life, 
which, according to the record, ended in 1522. If, to ascertain the date 
of the birth of Cornelis, we deduct eighty years from 1522, the result 
would show that he must have been born in 1442. But this was at least 
one year, perhaps two years, after the alleged theft. If Cornelis lived to 
the age of ninety years, the allowance of ten years more would not rec- 
oncile the discrepancy. Cornelis would have been a child of eight years 
of age; but the story of Junius requires, not a child, nor even a boy, 
but a man, an under-workman, the associate and room-mate of the 
false workman. To call it by the mildest name, here is a grievous 
blunder, The blunder is not in the record of the church, in which the 
chronology is consistent, for it represents Cornelis as beginning to 
work for the church when he was about thirty-two years of age. It 
would be a waste of time to show that the chronology of Junius is 
impossible: it is enough to say that the first link in the attempted 
chain is broken, and that Cornelis could not have been an eye-witness 
of the facts. ‘ 

_Lambinet had reason to speak of the aged witnesses, Cornelis, Gal- 
lius and Talesius, as “ walking and talking centuries.” Van der Linde 
characteristically describes the story of Junius as “a story in which 
all the authorities hear the principal facts in their infancy, but only to 
communicate them to each other in their second childhood.” 

It is a suspicious circumstance that the testimony of Cornelis should 
be recorded for the first time nearly half a century after his death. 
Hasback, Andrieszoon and Bellaert, the early printers of Haarlem 
should have heard from Cornelis this story about Coster and his in 
vention. The people of Haarlem, we are told, were proud of Coster. 
and envious of the honors conceded to Gutenberg. Why the printers 
and the people of Haarlem allowed the important testimony of Cor- 
nelis to remain unpublished for so long a time is a question that can- 
not be answered. a 

At this late day, it is impossible to discover the kernel of truth that 
may be concealed in the heart of so great a husk of fiction. It may be 
that Cornelis, who seems to have been a simple-minded man, and who 
appears as a binder in the church record about nine years before Bel- 
laert opened his printing office, imagined that this first pringing office 
in Haarlem was the first printing office on the globe. There may have 
been a theft of types and of secrets from the office of Jacob Bellaert 
at or about 1485. Cornelis blundered about dates, and his inaccuracies 
have been exaggerated by the gossip of the next generation. These 
are possible conjectures. But we must remember that this story of 
Cornelis is not told by himself, but by Junius. . 


‘dITOS 


‘dIIOS 


WITH 7 TO PICA LEADS. 


WITH 7 TO PICA LEADS. 


THE LEGEND OF COSTER. 


One of the authorities referred to by Junius is Talesius, burgo- 
master of Haarlem when Junius was writing Batavia. In referring 
to him, Junius is carefulin his choige of words. ‘‘My account does 
not disagree with that of Talesius...I recollect that I have heard 
from him nearly the same story.” This is a timid assertion—one 
that Talesius could have modified in some of its features. Talesius 
himself has not spoken. Talesius was, in his youth, the secretary, 
and, in mature age, the intimate friend of Erasmus, to whom he 
must have spoken about the legend, but he did not make Erasmus 
believe it. 

Erasmus says: “All those who apply themselves to the sciences 
are under no small obligations toward the excellent town of Mentz, 
on account of the excellent and almost divine invention of printing 
books with tin letters, which, as they assure us, was born there.” 

The mysterious disappearance of the practice of the art from 
Haarlem is even more wonderful than its introduction. The tools 
may have been stolen, but the knowledge of the art should have 
remained. Coster may have died immediately after the theft, but 
his son-in-law Thomas Pieterzoon, and the workmen, who knew all 
about the details of typography, were living, and able to go on with 
the work. The making of books may have been temporarily sus- 
pended, but the curious public who clamored for them should have 
persuaded Coster’s successors to fill their wants. The new art of 
printing which found so many admirers should not have been com- 
pletely forgotten fifty years afterward. There is nothing in the 
story of Junius to satisfy these doubts. If we accept his account 
of the invention, we must rest contented with the belief that typog- 
raphy in Haarlem died as suddenly as it was born, leaving behind 
as its only relics one edition of the Speculwm and the old wine- 
flagons of Thomaszoon. The same strange fatality followed the 
alleged thief John who fled to Mentz and printed two books in 
1442, Immediately after, his types, his peculiar process and his 
printed books disappear forever. 

To satisfy these doubts, and to bridge the chasm between Coster 
of 1440 and Bellaert of 1483, Meerman undertook to show that Cos- 
ter’s three grandsons, Peter, Andrew and Thomas, continued the 
practice of typography and printed many small works. Dr. De ~ 
Vries maintained that “‘there was after Coster’s death, until about 


THE LEGEND OF COSTER. 


1470, an uninterrupted, but carefully concealed practice of printing. 
That there existed in Holland for many years a seminary of the 
practicers of the art is confirmed by many and strong evidences.” 
But De Vries offers conjectures for evidences. History is silent 
about the printing office that was conducted by the sons of Coster. 
This office and these printers were really created by Meerman to 
fill a disagreeable gap in the story of Junius—a gap not seen by 
any of his numerous commentators from Scriverius to Seiz. There 
is no book that bears their names; there is no record that mentions 
them as printers; there is not even a tradition that they had any- 
thing to do with printing. If their names had not appeared upon 
the pedigree of Gerrit Thomaszoon, we should know nothing of 
them. The typographical successors of Coster are as fictitious as 
their progenitor. 

The improbable teatures of this legend were not perceived in the 
uncritical age in which Batavia was-written. Patriotic Dutchmen 
did not wish to see them. Holland, at the close of the sixteenth 
century, was flushed with pride at her successful resistance to the 
power of Spain. Grateful to the men who had made her famous, 
she exaggerated the services of all her eminent sons. Coster was 
not forgotten. The name of Junius gave authority to the Haarlem 
legend, and the story of Coster was read and believed throughout 
the Netherlands. There were dramatic features connected with it 
which pleased the imagination and fastened themselves to the- 
memory. To people who had no opportunity to examine the evi- 
dences, the legend of Haarlem soon became an article of national 
faith, to disbelieve which was to be disloyal and unpatriotic. But 
this enthusiasm would have subsided if it had not been nourished. { 
If subsequent writers had added nothing to this legend of Junius, . 
it would not be necessary to write more about it. Long ago it 
would have been put aside as untrue. But the legend has grown: 
it has been almost hidden under the additions that have been made 
toit. The snow-ball has become a snow-heap. It is necessary to 
expose the falsity of the additions as well as of the legend, and to 
show how recklessly this chapter of the history of typography has 
been written. 


BP oe ie 


GEORGE BRUCE’S SON & CO., Typre-FouNvERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


NonpaReEIL, No. 12. 


115 


XVIII 
THE GROWTH OF THE LEGEND. 


Perversion by Bertius... Romance of Scriverius... Date of invention removed to 1428... Illus- 
tration of First Statue to Coster... Date of 1420 given by Boxhorn... Rooman’s Date of 1430. 
History and Chronology of Seiz... Doubts of Hollander: Discrepancies in the Dates on 
Medals... Meerman and his Unsatisfactory System. imiles of Medals... Koning and 
his Prize Essay... Dr. De Vries’s Theory... Radical Disagreements of the Authors... All 
Versions are Enlargements of the Legend as given by Junius... An Article of Patriotic 
Faith in Holland... Monuments to Coster... Illustration of Last Statue. 


Who is there that has not opinions planted in him by education time out of mind, which by 
that means came to be as the municipal laws of the country, which must not be questioned, 
but are to be looked on with reverence... when these opinions are but the traditional grave 
talk of those who receive them from hand to hand without ever examining them ?—Locke. 


At the end of the sixteenth century, the legend had two strong sup- 
ports—the authority of an eminent scholar, and the patriotic pride of 
the Hollanders, who accepted it as truthful history. It did not, how- 
ever, pass the ordeal of criticism unharmed: the weaker points of the 
legend were exposed by many German authors, and the weight of 
their objections compelled Dutch writers to attempt new explanations. 
Bertius,! writing in 1600, and evidently perplexed by the carelessness 
with which Junius had noticed 
Coster’s first experiments, says, 
put without producing any proof, 
that ‘Coster invented the art of 
printing with engraved blocks or 
xylography....the three-fold vil- 
lain John Faust stole the inven- 
tion.” Here we see the unavoid- 
able result of Junius’s malignant 
innuendo: Bertius does not hesi- 
tate, as Junius did, to name Fust 
as the false workman who stole 
Coster’s tools. 

Peter Scriverius thought it nec- 
espe hs in 1628, to swell and em- 
pbellish the story of Junius. He 
wrote a new version of the inven- 
tion, which appeared with a curi- 
ous poem called the Lawrecrans.? 
This, says Scriverius, was the man- 
ner of it: In the year 1428, Laurens 
Coster, then a sheriff of Haarlem, 


3 = 


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took up the branch of an oak-tree, i ‘ii 
cut a few letters in relief on the | (I 
wood, and after a while wrapped | Ma 
them up in paper. He then fell 

asleep, but while he slept, rain de- 
scended and soaked the paper. 
Awakened by a clap of thunder, he 
took up the sheet, and, to his as- 
tonishment, discovered that the 
rain had transferred to it the im- 
press of the letters. Here was the 
suggestion of xylography, which 
he at once followed to a successful 


conclusion. He printed a great 
many block-books and a Donatus, 


put finding to his surprise that let- 
ters cut upon a solid block could 
not be used for other work, he 
thereupon invented typography. 
John Gutenberg, who had been = 
employed as a workman, stole the il 
tools and the secret. Dishearten- Hi 
ed with this misfortune, Coster dr 
abandoned printing and died. He 
proceeds: F 

Tt is my opinion that the art 
was first invented ten or twelve 
years before the year of our Lord 
1440 (in which the most trustwor- 
thy authors agree), in Holland, at 
Haarlem. Junius has told its be- 
ginning and progress before us. 

1 Wolf, Monumenta Typographica, vol. 1, pp. 


193 and 621. 
2 Laurecrans voor Laurens Coster von Haar- 
lem, eerste Vinder von de Boeckdruckery, ete. 


a 


Se) 


‘adrTO 


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WITH 8 TO PICA LE 


Haarlem, 1628. Reprinted in Dutch, with de- 


scription in Latin, in Wolf's Monwmenta Typo- 
graphica, vol. 1, pp. 209-451. The poetry of 


THE GROWTH OF THE LEGEND. 


And although he discovered some particulars about the invention, 
yet he has (I may be allowed to say it without disturbing his 
ashes) his errors, and may not be pronounced free from inadvert- 
ence. ‘To-day (A. D. 1628) is just two centuries since the excellent 
and valuable art of printing made its appearance (A. D. 1428). Not 
in the manner that is used now, with letters cast of lead and tin. 
No, it did not go on like that; but a book was cut, leaf for leaf, on 
wooden blocks....We must not think that every letter was cut 
separately on wood, and that these letters were collected and put 
together to a line, and in a certain number of lines....Our acute 
Laurens first cut the letters, twisted and close to each other, in 
the manner of writing on wood or tin; but afterward, when he 
was so successful, he changed his method of working, and, haying 
invented the matrices, cast his letters. (!) 

“J will not say further how the noble art of engraving and print- 
ing of engravings is connected with the invention of printing, 
which arose afterward. But just as the dexterous Jan Fuyst imi- 
tated the appropriate art of printing, so the excellent and talented 
printers and designers, who also handled the artistic chisel and 
knife, contrived to multiply and publish their engravings, cut after 
the printing of the Haarlem figures. And all have been instructed 
by. and got their first experience from, our clever and talented 
Laurens Koster.” [Condensed from 
Hessels’s translation in Haarlem 
Legend, pp. 113-14. ] 

Seriverius has given dates and 
new details, but he has not thrown 
any clear light on the subject. He 
has not made the story of Junius 
more credible, but he has exposed 
himself as a romancer and a fabri- 
eator. In trying to mend the le- 
gend, he has destroyed it. If the 
story of Scriverius is true, then 
that of Junius is false, for they con- 
tradict each other. The statements 
of Junius were based on the pedi- 
gree and the gossip of the old men 
of Haarlem; the statements of 
Scriverius were based on nothing, 


MO 


for he had no authorities which 
a lenient critic could accept. 
Seriverius said that Lourens 
Janszoen or Laurens Koster was 
the inventor of xylography as well 
as of types. After an examination 
of the Speewlwm, he had wit enough 
to see what Junius did not, that 
the printer of the book must have 
had practice with blocks, and that 
printing on blocks necessarily pre- 
ceded printing with types. His 
description of the growth of the 
new art is not satisfactory. The 
careless manner in which he skips 
over the invention of matrices and 
the making of the moulds is that 
of aman who knows nothing about 
type-founding, neither from in- | 
struction nor observation. En- 
couraged by the praise which Seri- 
verius had received for his per- 
formance, Marcus Zuerius Box- 
horn undertook to place the date . 
of the invention eight years ear- 
lier. In his Dissertation on the In- 
vention of Typography, printed by 
Vogel at Leyden in the year 1640,! 
Boxhorn says that the invention 
was made in 1420. Here we en- 
couuter a curious fact. The story 


Scriverius is as whimsical as his prose. ere 

is his charge of theft against John Gutenberg: 

‘Ah, rascal! ab, are you there? is it you Hans 
Gutenberger? 

Why does this name become you? Yes, two- 
fold rascal, and worse! 

Notorious by theft, oh shameless man! 

This word is still too mild for your villainy. 

Because you concealed Laurens’ good and 
carried it away, 

And stole it falsely: so hear we now speak _ 

Of Goedenbergher’s praise ; however they dis- 
guise it, 

By the Goeden-berg they betray the Guyten- 
(rogue )berg. 


‘ 

GY 
VN 
NTR 

Sai 


an SSK ETOH cot 
SRS , BZ 


(From Seiz.) 


of Junius had been published less 
than fifty years, yet the writers 
disagreed concerning the date of 
the invention. Believers in the 
legend had been taught by one 
teacher that typography was in- 
vented in 1440—by another, in 1428 
—by another, in 1420, And it is a 


1 Wolf, Monumenta Typograuphica, vol. 1, pp- 
813-868. 


The Statue of Coster in the Doctors’ Garden. 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


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116 


Nonparein, No. 12. 


THE GROWTH OF THE LEGEND. 


noticeable circumstance that the 
authors farthest removed from the 
date of the invention were the 
most positive in their statements. 
The later writers, who knew the 
least, give us the earlier dates. 

Adrien Rooman, a printer of 
Haarlem, and apparently a con- 
servative and conciliatory man, 
thought that these differences 
could be most satisfactorily ad- 
justed by fixing the date midway 
between the extremes. He was 
notin the possession of any newly 
discovered facts, and had no au- 
thority for the arbitrary selection, 
but this incompetency did not pre- 
vent him from publishing a por- 
trait of Coster, with an inscription 
which made the year 1430 the date 
of the invention. 

To the thinking men of Haarlem 
the assumptions of Boxhorn were 
as unsatisfactory as those of Ju- 
nius and Scriverius. There was 
an air of improbability, or at least 
of uncertanity, about the state- 
ments of all the authorities, which 
filed their minds with doubts as 
to the truth of the legend. The 
statue to Coster, which was soon 
after put up in the Doctors’ Gar- 
den, had no date of invention on 
the pedestal. To remove these 
doubts, Seiz,) undertook, in 1742, 
to furnish “a true and rational 
account of the invention” by Cos- 
ter. The truth and reason of this 
new description of the invention 
of Coster are most strikingly illus- 
trated in its chronology. 


1428.—Laurens Coster engraved a 
few letters upon the bark of a 
tree. 

1429.—He gave one year to experi- 
mental engraving on wood. 

1Seiz, Annus Tertius Seculoris Invente Ar- 

tis, ete, Haarlem, 1742. 


1442.—Gutenberg printed an 4A be 
book, the Doctrinal of Alexan- 
der Gallus and the Treatise of 
Peter of Spain. By this time 
Coster had fully repaired the 
damages of the theft. 

1443.—Coster printed the second 
edition of the Speculum Salu- 
tis in Dutch. 

1444.—Coster printed a Latin edi- 
tion of the Speculum. 

1446.—Gutenberg also induced 
Gensfleisch, called afterward 
Faust, (!) and Meydenbach to 
join him in printing a Latin 
Bible. 

1457.—Coster’s art was well known, 
and excited the envy of the 
Archbishop of Canterbury and 
of King Henry vi of England. 

1457.—The Archbishop persuaded 
the king to get a knowledge of 
the art from Gutenberg, first 
book printer of Haarlem. (!) 

1459.—Turnour and Caxton, who 
were sent on this mission, brib- 
ed Frederick Corsellis, a work- 
man of Coster, to run away 
from Haarlem in disguise. To 
prevent his escape, Corsellis 
was taken to Oxford, in which 
town he began to print in 1468. 

1467.—Coster died, about the same 
time that Gutenberg and Faust 
died. (!) His printing office 
ceased to exist.! 

Seiz has not told us where he 
obtained this curious information, 
but we shall make no mistake if 
we attribute it to an imagination 
disordered by national pride. His 
chronology is so absurd that seri- 
ous criticism would be a waste of 
time. 

Notwithstanding the strong ef- 
forts of Seiz to efface the impres- 
sion created by the contradictory 
accounts of his predecessors, the 

1Condensed from Hessels’ translation in 
Haarlem Legend, p. 123. 


1431.—He printed the Temptations 
of Demons or Ars Moriendi. 
1432.—Printed the Bible of the Poor. 
1435.—He began to engrave and 
printan edition of the Donatus. 
1436.—He cut separate letters or 
single types out of lead. 
1437.After prolonged experiment 
he abandoned this method. 
1438.—He invented a method of 
casting types of lead. 
1439.—He began to print an edition 
of the Donatus, and the Dutch 
edition of the Specwlwn. In 
this year Gutenberg took ser- 
vice with Coster, and began to 
print for him, by which he 
earned the title of the Book- 
printer of Haarlem. (!) 
1440.—Gutenberg absconded with 
some knowledge of the inven- 
tion, He was able to cut, but 
not to cast types. (!) 
1441.—He established a printing 
oftice in Mentz. 


citizens of Haarlem seemed to be 
involved in greater doubts than 
ever about the chronology of the 
invention. For, in 1740, upon the 
occasion of the third jubilee of Cos- 
ter’s invention, two silver medals 
were struck, with legends ecurious- 
ly unlike. We here see that the 
name of the inventor is printed in 
different forms; one medal bears 
the date 1440, and the other con- 
tains the date 1428. These irrecu- 
larities prepare us for what is to 
follow. 

In 1757,.Gerard Meerman, sub- 
sequently a distinguished cham- 
pion of the Haarlem legend, wrote 
‘that the pretentious assertion of 
the invention of printing by Lau- 
rens Coster begins to lose eredit 
more and more. The particulars 
that have been related by Seiz are 
mere suppositions, and the chro- 
nology of Coster’s invention and 
enterprise is a romantie fietion.” 


~ 
i 


‘dI'to 


WITH 7 TO PICA LEADS. 


THE GROWTH OF THE LEGEND. 


But in the year 1760, Daniel 
Schoepfiin, an eminent scholar of 
Strasburg, wrote a valuable con- 
tribution to the history of typog- 
raphy, under the title of Vindicie 
Typographice. Meerman was pro- 
voked to emulation. He had not 
believed in the legend, but he 
thought that he could construct a 
theory of the invention, which 
would, to some extent, concede 
the claims of the rival cities of 
Haarlem, Strasburg and Mentz. 
In this illogical manner, by the 
construction of a theory before 
he was in possession of the facts, 
he began to write the Origines Typ- 
ographice. The entire book was 
published in 1765, with a portrait 
of Lourens Coster by the eminent 


maT ome 
eu Kee 


SX WER TRIA Ss 


Medals in Honor of Coster. 


‘daI'TO$s 


{From Seiz.] 


WITH 7 TO PICA LEADS. 


to consider the engraving of let- 
ters upon solid wood-blocks, for 
this is not typography, and is not 
printing as we now understand it. 
Laurens was robbed on Christmas 
night, 1440, by Johan Gensfleisch 
the elder, who carried the art to 
Mentz. The son-in-law and heirs 
of Coster continued his business 
for some time after his death, but 
with little appreciation, as they 
were overshadowed by the supe- 
rior invention of Gutenberg and 
Scheeffer. Coster printed but one 
edition of the Speeulwm trom types 
of wood. His successors printed 
the other Dutch edition and the 
two Latin editions from engraved 
metal types. The contributions of 
different inventors toward the per- 


GEORGE BRUCE’S SON & CO., TyPE-FOUNDERS, No. 


13 CuamBers-Srrerr, NEW-YORK. 


| odes. 


Dutch engraver Houbraken, and 
a portrait of Meerman himself by 
Daullé. In the matter of scholar- 
ship, Meerman was thoroughly 
qualified for his task. He wrote in 
a clear style and with admirable 
method. But he knew nothing of 
the mechanics of printing nor of 
type-founding, and,unfortunately, 
he was too conceited to accept cor- 
rection or instruction even from 
the hands of experts like Enschedé, 
Fournier and others. In trying to 
make facts suit theories, he went 
so far as to order the engraver of a 
fac-simile to stretch the vellum of 
a Donatus so that the types used 
upon this Donatus should appear 
to be the same as the types of the 
Speculum. 

These are the conclusions sub- 
mitted by Meerman as the result 
of his study of, and reflection on, 
the legend of Haarlem : 

“Typography was invented by 
Louwerijs Janszoen, also known 
as Laurens Coster, who, at various 
times between 1422 and 1434, filled 
the office of sheriff, treasurer and 
sacristan. He was of noble blood, 
but a bastard of one of the Breder- 
He died sometime between 
1434 and 1440. He invented typog- 
raphy about 1428 or 1480, using only 
movable types of wood. All that 
Junius has written about an inven- 
tion of lead and tin types by Coster 
is incorrect. He thinks it useless 


ee 


eee eee 


fect invention are.acknowledged 
in this manner: Laurens Coster 
was the first to demonstrate the 
feasibility of typography by his 
use of wood types; John Gens- 
fleisch was the first to make cut 
or engraved metal types; Peter 
Scheffer was the inventor of cast 
or founded metal types; John Gu- 
tenberg and John Fust were print- 
ers who invented nothing.” 
Meerman had fair warning from — 
the type-founder and printer John 
Enschedé that his theories of wood 
types! and of cut metal types were 
preposterous. He did not heed the 
warning. He wrote, not for print- 
ers, but for bibliographers who be- — 
lieved in the practicability of wood 
types, and he did not mistake his 
readers. The bibliographers, who 
knew little or nothing of the theory 
or practice of type-making, were — 
not competent to criticise the me-— 
chanical part of his theory. He 
hoped to disarm the prejudices of 
German authors by his frank ac- 
knowledgment of the contribu- 
tions of Scheeffer and Gensfleisch | 


1 John Enschedé then said that “Jansen 
Koster used no wooden movable letters, as 
later, and still living scholars [Meerman] as- 
sert—scholars who know nothing of the mech- 
anism of type-founding—and, who, there-— 
fore. rie A swerve from the path of simple 
trath.” eerman’s reason for rating this 
Dutch edition of the Speculum as first of all 
was the inferior appearance of the types and 
the printing, which inferiority, he maintained. 
had been produced by wood qypes and want of. 
experience in presswork. Fournier told him 
truly that the types of his alleged first edition 
were metal types; that the printing of the 
book was inferior because the types were worn 
out; that his first edition had ‘all the signs of 
a last edition —but Meerman refused this ex: 
planation. 


a 


NonpareiL, No. 12. 


THE GROWTH OF THE LEGEND. 


as co-inventors. The novelty of 
his theory, the judicial equity with 
which he decreed to Coster, Gens- 
fleisch and Schceffer what he said 
was their share in the honors of 
the invention, the temperate tone 
and calm philosophic spirit in 
which the book was written, the 
breadth of scholarship displayed 
in exact quotations from a great 
number of authors, won admirers 
in all countries. The theory of 
Meerman about a contributive in- 
vention need not be examined 
here: it has been entirely refuted 
by many French and German au- 
thors; it was abandoned even by 
Hollanders! at the beginning of 
the present century. The authority 
of the book is at an end. 

The conviction that all previous- 
ly written defences of the legend 
were untenable, caused a scientific 
society of Holland to offer a prize 
for the best treatise on the inven- 
tion. Jacobus Koning was the suc- 
cessful competitor. In 1816, he pub- 
lished, under the sanction of the 
society, the essay that had won 
the prize, under the title of “‘ The 
Origin, Invention and Development 
of Printing.” It was an inquiry 
of more than ordinary merit— the 
first book on the subject which 
showed evidences of original re- 
search. Koning tried to supple- 
ment the many deficiencies of Ju- 
nius with extracts from the records 
of the old church and town of Haar- 
lem, which he had studied with 
diligence. He brought to light a 

*ereat deal of information about 
one Laurens Janszoon, whom he 
confounded, as Meerman had done, 

1Dr. De Vries, the most eminent defender 
of the legend in this century, said: ‘‘The 
work of the learned but not very judicious 
Meerman had done more injury to the cause 
of Haarlem than the writings of all other 
antagonists.” 


THE GROWTH OF THE LEGEND. y 


for practical work. His types were 
founded in matrices of lead, and 
in moulds of metal; he invented 
Lista A alae and printed his books 
with inking balls on a press. His 
materials were rude, but the proc- 
ess was substantially the same as 
that of modern printers. He print- 
ed the first edition of the Speculum 
in 1430, and sixteen other books be- 
fore his death. His business as a 
printer was continued for some 
years, butinafeeblemanner,by his 
grandsons. The thief of Koster’s 
process was Frielo Gensfleisch.” 

In the town records Koster is 
not noticed as a printer, but Ko- 
ning described his method of print- 
ing, his punches, moulds, matrices, 
presses, inking balls, ink, types, 
and printing office furniture, with 
as much boldness as if he had been 
eye-witness to the entire process. 
Nor was this his only error. It 
has since been proved that he will- 
fully suppressed many important 
facts in the records which are of 
great importance in an examina- 
tion of the life and services of Cos- 
ter. It is plain that he was more 
intent on pleasing the national 
pride than on revealing the truth. 

The speculations of Koning were 
destroyed by the keen criticisms 
of the authors who followed him. 
Dr. Abraham De Vries! set aside 
impatiently nearly all the ingeni- 
ous theories devised by former 
commentators. He repudiated the 
statement that Coster had been a 
sexton or sacristan, or that he in- 
vented engraving on wood. Warn- 
ed by the failures of his predeces- 
sors, he advanced no new theory 
about the peculiarities of Coster’s 
typographic process ; he professed 
to be satisfied with the bald state- 

1 Kelaircissemens sur Vhistotre de Vinvention 
de Vimprimerie. 5 


with Lourens Janszoon Coster. 
This is the substance of his dis- 
coveries and of his conclusions 
therefrom : 

“Koning describes the inventor 
as Laurens Janszoon Koster, and 
not as Lourens Janszoon. He says 
that Koster was born about 1370; 
that there are no records of his 
early life, and that his name does 
not appear on any of the registers 
of Haarlem, municipal or ecclesi- 
astical, until he became a man of 
middle age. After this period of 
his life, notices are frequent. He 
was the sacristan of a church from 
1421 to 1433. He was, at different 
times, alderman and presiding al- 
derman, treasurer of the town, 
lender of money to the city, officer 
in the citizens’ guard, member of 
the grand council, and 
deputy to a conyoca- 
tion of the States— 

a man of wealth and 
distinction. There was 
a great pestilence in 
Haarlem in the latter 
part of the year 1439, 
and Koning says it 
seems probable that 
Koster was one of its 
many victims. Kos- 
ter’s only child was a 
daughter named Lu- 
cette, who married 
Thomas, the son of 
Pieter Pieterzoon—the 
Peter mentioned by 
Junius. Pieterzoon 
had three children, but 
with them the family 
name was lost. This 
Laurens Janszoon 
Koster invented xy- 
lography and typogra- 
phy. He experimented 
with types of wood, 
but did not use them 


ment of Junius, and 
dogmatically main- 

tained that Coster 

“was the inventor of i, 
typography, of the CiiwZ 
proper art of printing, 
the first who invented 
and practised the art of 
printing with movable 
and cast letters, and so 
gave the example to 
Mentz...... In the be- 
ginning, the art was 
secretly practised as a 
trade Im manuscripts, 
not only during the 
lifetime of the invent- 
or, but by his succes- 
sors after his death.” 
De Vries placed the in- 
vention about 1423. 

Tt is not necessary to 
protract this review of 
the different versions 
of the legend, nor yet 
to point out the fatal : 
disagreements and inaccuracies of 
these versions. It is plain that all 
the authors who have maintained 
the claims of Coster have taken 
their leading facts from Junius. It 
is equally plain that they have been 
dissatisfied with his statements 
and have tried to fill up the gaps 
in the evidence with conjectures. 
But they have not made the legend 
any more credible. The exact 
nature and date of the invention, 
the name of the inventor, his me- 
thod of making types, the books 
he printed, the thief who stole his 
process, the fate of his printing 
office, the total disappearance of 
the knowledge of the new art— 
these and other features of the 
positive statement first made by 
Junius are enveloped in as com- 
plete a mystery as they were when 
Batawva was written. 


“aITOS 


“aTTOS 


wi 
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<q 
a 
4 
<q 
(2) 
—_ 
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= 
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BF 
NS 


117 


THE GROWTH OF THE LEGEND. 


With all its inconsistencies and 
improbabilities, the legend has 
been accepted as essentially truth- 
ful by many eminent bibliogra- 
phers in France and England. Of 
late years it has encountered but 
feeble opposition from German 
writers. In many modern books 
on printing, Coster has been rec- 
ognized either as the inventor or 
as one of the co-inventors of the 
art. There has been a general be- 
lief that, however absurd the le- 
gend might be in some minor mat- 
ters of detail, it had a nucleus of 
truth. Coster’s place in typo- 
graphical history, at the middle 

of the present century, 
seemed almost as firm- 
ly fixed as that of 
Gutenberg. 

In Holland, this le- 
gend of the invention 
of printing by Coster 
was an article of na- 
tional faith which only 
the bold man dared to 
deny. It has produced 
results which could 
never have been fore- 

Ky seen by the vain old 
man Gerrit Thomas- 
zoon, in whose conceit 
the fable originated. 
Haarlem is dotted with 
monuments to the 
memory of Coster. Cer- 
tain days in June and 
July are observed as 


sit EE 


The Statue on 


(From Noordziek.] 


WITH 8 TO PICA LEADS, 


on) 


festivals in commemoration of the 
invention. In the Hout, or Haar- 
lem Wood, where Coster is said to 
have received his first suggestion 
of types, an imposing cenotaph has 
been placed. Carved on this stone 
are the arms of the sheriff Laurens 
Janszoon, and the year 1423, which 
is offered as the date of this sugges- 
tion. An acknowledgment of Cos- 
ter as the inventor of typography 
may be seen in the ancient cathe- 
dral of Haarlem, on a black mar- 
ble tablet, which was put in place 
during the month of June, 1824, by 
King William tr. In almost every 
well appointed public office or pri- 
vate house of Haarlem is some pic- 
torial recognition of Coster as the 
inventor of printing. 

In the year 1851, an association 
of patriotic Hollanders placed in 
front of the rebuilt Coster house a 
memorial stone with this inscrip- 
tion: “The house of Coster: the 
birthplace of typography.’ The 
date of this birth was judiciously 
omitted. The tablet of the old Cos- 
ter house contained an inscription 
in honor of ‘‘ Laurens Coster, sher- 
iff, of Haarlem, inventor of typog- 
raphy about the year 1430.” The 
vitality of the legend has also been 
preserved by the issue of a great 
many medals, prints and papers, 
and by the repeated assertion of 
the civic authorities that Coster 
was the original and unquestion- 
able inventor of typography. 


XIX 
THE DOWNFALL OF THE LEGEND. 


The Vague Inscription on the Last Monument... Relics in the Costerian Mu- 


seum... Fac-simile of Janszoon’s Autograph... The Coster Pedigree.. 


-Made 


by Gerrit Thomaszoon... Legend began with the Pedigree... Pedigree has 


Records concerning Coster. . 


been Falsified, and is of No Authority....Search by Van der Linde for 
. Archives of the Town and Church of Haarlem 
represent Coster as a Tallow-Chandler and Innkeeper... Coster living at 
Haarlem in 1483... The Record of the Chair-Book... No Evidence that Coster 


was a Printer... Lourens Coster has been Confounded with Laurens Jans- 
zoon... Illustration of the House of Coster... Other Fac-similes of Portraits 
of Coster... Their Curious Dissimilarity... Absurdity of the Legend. 


The New Monument to Coster. 


We sce in a square at Haarlem the monument of the fictitious personage 


Laurens Coster. 


It presents a sad figure. 


Behind this statue, sneering in 


mockery, is another colossal monument, which dominates and belittles it 
—a statue visible to us, but to Hollanders invisible—the statue of Ridicule. 


Tn 1856, on the 16th of July, the day 
accepted as the anniversary of the 
invention, a statue of Coster was 
put up in Haarlem, the tablets of 
which bear inscriptions thus trans- 
lated by Hessels: 


LOURENS JANSZOON COSTER. 


HOMAGE OF THE 
NETHERLAND NATION. 
MDCCCLVI. 


INVENTOR OF 
THE ART OF PRINTING 
WITH 
MOVABLE LETTERS 
CAST OF METAL. 


The date of the invention and 


Helbig. 


the profession or position of the 
inventor are omitted. We cannot 
learn from the monument whether 
Coster was a sheriff or a sexton, 
whether he invented printing in 
1423 or 1440. It may be inferred 
that there had been disagreements 
among the eminent men who erect- 
ed this work of patriotism, and 
that they could not heartily accept 
the date of any version of the le- 
gend. On this great occasion the 
Costerian Museum of Haarlem was 
enriched with a pedigree of the 
Thomaszoon family, an old docu- 
ment frequently referred to by 
some defenders of the legend as an 
incontestable evidence of its truth. 


GEORGE BRUCE’S SON & CO., TyPE-FOUNDERS, No. 13 CHaMBERS-STREET, NEW-YORK. 


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118 NonpareEIL, No. 13. 


THE DOWNFALL OF THE LEGEND. 


. This Museum then contained, among other relics, copies of the Apocalypse, 

the Ars Moriendi, the Oanticles, the Donatus, the Speculum, the Temptations 
of Demons, and other printed works that have been noticed in the chapter on 
The Works and Workmanship of an Unknown Printer, most of which were 
claimed as the work of Coster’s office. The wood block of the Horariwm 
(see page 91), some official documents, some autographs of the sheriff Lou- 
werijs Janszoon, a picture said to be a likeness of Coster, several engravings 
of Coster (curiously dissimilar, and one of which is an undeniable forgery), 
are also contained in this Museum. Van der Linde denounced the Museum 
as a municipal show-booth. Zhe Haarlem Legend, p. 164. 

The pedigree was, without doubt, a genuine relic. Its dingy vellum sur- 
face, written over in many handwritings, was surrounded by an embroidered 
border blackened with age. Its history could be traced through three cent- 
uries. Gerrit Thomaszoon, the aged descendant of Coster mentioned by 
Junius with such marked respect, was the person by or for whom this pedi- 
gree was made in or about the year 1550. 


Leni flay JP 


Autograph of Laurens Janszoon. 


(From Koning. ] 


Gerrit Thomaszoon died about 1563 or 1564. In the year 1611, the pedigree 
belonged to Adrien Rooman, the town printer at Haarlem. At his death it 
fell into the hands of Dr. John Vlasveld. For nearly two centuries it was un- 
known to the public. In 1809, it was sold at auction, Jacobus Koning paying 
for it, and for an old wood-cut, supposed to be the work of Coster, four hun- 
dred guilders. 

Gerrit Thomaszoon had kept an inn in the house once occupied by Coster, 
and it is supposed that the pedigree was one of the decorations of a wall in 
his house. There is a special significance in this date of 1550. 

This pedigree, which describes Coster as the inventor of printing, was 
written at least one hundred years after the discovery of the invention and 
the death of the inventor. It was written when Cornelis, the only eye-wit- 
ness known to history, had been dead nearly thirty years. It is, however, 
and too much stress cannot be laid on this fact, the oldest document in which 
mention is made of Coster as a printer. There are valid reasons for the belief 
that Coster’s merit as an inventor had never been recognized in any way 
before the record was made on this pedigree. When we consider the order 
of the dates, it is obvious that it was from this much suspected document 
that Coornhert derived the information he published in 1561. “The old, 
dignified and grey heads” described by Van Zuren in 1561, “the aged and 


THE DOWNFALL OF THE LEGEND. 


respectable citizens” of Guicciardini (1566) and Junius (1568), were Gerrit 
Thomaszoon and his friends, among whom we may properly include Gallius 
and Talesius. And it may be added that the more circumstantial story of 
Junius was first published when Gallius and Talesius were dead, and when 
there was no man living who could controvert or modify any part of his story. 

There can be no doubt that the legend began with this pedigree. It is not 
at all probable that the vain old man Gerrit Thomaszoon, who was proud of 
the ancestor in whose house he lived, kept his friends in ignorance of it. It 
was not unknown to Junius. There is a similarity of uncertainty between 
an ambiguous date (1440 or 1446) on this pedigree and the mysterious cir- 
cumlocution of Junius in his use of the words ‘about one hundred and 
twenty-eight years ago,” or 1440, which is enough to show that Junius had 
not only seen the pedigree, but that he took it as an authority for this date. 
Whether Scriverius saw it cannot be confidently maintained; he does not 
mention it. Gerard Meerman knew of its existence, but he did not reprint 
it. He made use of it, however, in the construction of anew genealogy of 
the Coster family, in which he added and altered items in the most wnwar- 
rantable manner. Koning studied it with diligence: he frequently alluded 
to it as a document of the highest importance, but he did ac reprint it, nor 
even describe it in general terms. 

The withholding of this pedigree from public examination, and the evasion 
of its description by the authors who had examined it, are suspicious cir- 
cumstances. We see that men who wrote hundreds of pages of speculations 
to support the claims of Coster—men who translated and reprinted many 
columns of irrelevant chaff for the sake of one little kernel of grain— will- 
fully suppressed what they maintained was a most convincing evidence of 
the truth of the legend. I was not suppressed because it was too long: the 
entire pedigree can be pores in two pages. 

_ The reasons for withholding the pedigree were apparent when it was put 
in the Museum. The reading of the words in the first row at once produced 
the impression that its importance had been vastly overrated; that its infor- 
mation was of little value; that it was almost worthless as evidence of the 
priority of Dutch typography. Dr. Van der Linde, who made a critical ex- 
amination of the writing soon after it was placed in the Museum, revealed 
the astonishing fact that the most important entry had been falsified. This 
entry, which contains the only portion of any interest in an inquiry concern- 
ing the invention of printing by Coster, consists of the following lines: 

_ Sijn tweede wijff was Lourens Janssoens Costers dochter die deerste print 
in die werlt brocht Anno 1446.” 

‘His [Thomas Pieterzoon’s] second wife was Lourens Janssoen’s Coster’s 
daughter, who brought the first print in the world in the year 1446.” 

The date first written was 1446, but in this column, and in others, objection- 
able entries have been effaced and falsifications haye been attempted. ‘The 
figure 6 has been partially rubbed out; it has been replaced by a 0, so that 
the careless reader will construe the date as 1440. There can be no hesi- 
tation whatever on this point; the figures first written surely were 1446. 

‘We see here a fable arise before our very eyes. A Haarlem citizen has a 
pedigree made for him, probably to put it up in his inn... But the frame 
wants lustre, and so the pedigree is linked by the probably totally fictitious 


‘daITOS 


‘daIIO$S 


WITH 7 TO PICA LEADS. 


WITH 7 TO PICA LEADS. 


THE DOWNFALL OF THE LEGEND. 


Lucye, the second wife, to a Haarlemer—to a Haarlemer who (the awk- 
wardness and naiveté of the expression may not surprise us at all in such 
a product of family vanity) brought the first print in the world.” 

We may waive all criticism of the faulty grammar of the pedigree and 
proceed to more important matters. It may be conceded that the pedi- 
gree was written by an ignorant man who intended to say that it was 
Coster, and not his daughter, who brought the first print in the world. 
By the word print Thomaszoon may haye meant a playing card, the en- 
graved figure of a saint, a block-book, or a book made from movable 
types. If he meant any product of xylographic printing, the statement 
is totally false, and deserves no consideration. If he meant typography, 
his failure to express that meaning is unfortunate. But his intention is 
really of but little importance. This bold statement on a pedigree, written 
by an ignorant and conceited man, about one hundred years after the 
great event he professed to record, of the details of which he obviously 
knew nothing, cannot be used to overthrow established facts in the 
history of typography. 

It is unsatisfactory in other points. The alteration of the date, and the 
unexplained erasures have destroyed whatever validity the document may 
have had. It may be put aside; as an authority it is worthless. Its 
obscure notice of the invention of printing is but a frail foundation for 
the colossal superstructure which Junius erected. It is plain that Junius 
must have been conscious of its weakness as a basis for the legend; he 
had doubts of its accuracy, and dared not refer to it. He preferred the 
oral testimony of the dead Cornelis. 

The discovery of this falsification induced Dr. Van der Linde to make, 
“with a zeal and patience worthy of a better cause and of a better re- 
ward,” a laborious investigation in the archives of the town and church 
of Haarlem for authentic information concerning Coster. He had cause 
to think that history had been falsified by other historians of the legend. 
Through the study of the archives, Van der Linde ascertained that there 
lived in Haarlem, in the fifteenth century, a citizen whose name was 
Lourens Janszoon Coster, the son of one Jan Coster who died in 1436, 
The results of the search were as curious as they were unexpected, as will 
be fully understood after an examination of this translation of the originals : 


1 Van der Linde, The Haarlem Legend of the be observed in all the authorities It is more 
Invention of Printing, p. 42. In the singular than an indication that the story of Junius is 
words “who brought the first print in the based on the pedigree and on information 
world”? we may find the cause of that myste- derived from Thomaszoon and his friends, 
rious indefiniteness of description which may 


THE DOWNFALL OF THE LEGEND. 


1441.—On the evening of the 13th, settled with lou koster for 15 pounds 
and 12 pounds of oil, each pound an ancient butdrager, and 34 pence 
for soap and tallow candles, together 22 guilders 3 pence. 

1441.—Louwerijs Janssoen, for 72 pounds of candles, which have been 
burnt by the guards in the town hall during the year—for each 
pound an ancient butdrager. 


‘1441.—Louwerijs Jans aforesaid, for the candles burnt in the tower in 


honor of Our Lady, during this year, as was agreed with him. 
1442.—Lourijs Coster, paid for having repaired the lantern of Our Lady 
in the tower. 
1442.—Lourijs Coster, for forty pounds of tallow candles which the guards 
in the town hall burnt; cost each pound an ancient butdrager. 
1442,—Paid to lou coster 8 guilders for oil and soap. 
1442.—T’o lou coster for soap, candles and other things, 15 pence. 
1447.—On the 14th day of March, paid to Louwerijs Coster for 5 pounds 
of candles burnt in the tower in honor of Our Lady. 


There can be no mistake about the business of this man. The Lourens 
Janszoon Coster described on the old pedigree as the famous man who 
brought the first print in the world, and in Batavia as a wealthy citizen, 
a man of leisure and enlarged mind, and the inventor of engraving on 
wood and typography, was certainly an obscure tallow-chandler, who sold 
oil and candles.) The anti-climax is sufficiently absurd, but worse re- 
mains. The archives give us more than a clue to the origin of Coster’s 
wine-flagons. It seems that, some time after 1447, this Lourens Janszoon 
Coster gave up the business of chandler in favor of his sister Ghertruit 
Jan Costersdochter, and that he chose for his new occupation the duties 
of a tavern-keeper. Van der Linde found this fact clearly stated in the 
treasury accounts of the town of Haarlem. 


1451.—Lou coster? paid, for two menghelen of wine which were sent to 
the burgomaster a year ago. 

1454.—A dinner was offered to the count of Oostervant on the 8th day of 
October, 1453, at lou coster’s; indebted to him for it xv guilders. 


1 There is, of course, no reason why a chand- 2'The variable oreaegreP ey, of the name of 
ler could not have invented typography, but Coster, which is here copied literally from the 
we have no evidence that this chandler in- records, is a sufficient explanation of the ir- 
vented anything. Our knowledge of the tastes regularities in the spelling of his name which 
of the man, as shown in his selection of anew are to be found in all the authorities. I have 
business, is enough to prove that he was not adopted the orthography as I find it in the 
at all like the later chandler, Benjamin Frank- ie of Van der Linde. 

lin, with a leaning to types and letters, 


GEORGE BRUCE’S SON & CO., Typr-F 


OUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


Nonparein, No. 138. 


119 


THE DOWNFALL OF THE LEGEND. 


1468.—Louris Coster and other citizens are summoned to the Hague. 

1474.—Louris Janszoon Coster pays war taxes. 

1475.—Louris Janszoon Coster pays a fine for ‘“‘buyten drincken” (to drink 
ot Na the premises). 

1483.—Received of Louris Janszoon Coster for ferry toll for his goods when 
he left the town, 8 rex guilders. 


We here see that the name of Louris Janszoon Coster was recorded in the 
town-book for the last time under the date of 1483, when he paid ferry toll 
for his goods, and was allowed to leave the town. It is not known where he 
went or where he died, but it is plain that the story of his death in 1439, as 
related by Meerman and Koning must be untrue. 

There might have been a doubt as to the identity of the chandler with the 
innkeeper, if Van der Linde had not investigated in another direction, and 
made gleanings from the books of an old association, whose records are as 
trustworthy as those of the archives of the town and the church. This 
association, which still exists, under the name of the Holy Christmas Cor- 


“Tt is one of those fraternities which had the lofty aim of eating and drink- 


ing. This corporation is already very old, for it celebrated its third jubilee 
in 1606. Its fifty-four brethren and sisters preserved each a chair for their 


Sito 


The House of Coster, 


[From Seiz.] 


In the register of the names of the occupants of the chairs are found the 
following entries under the heading of chair 29: 


1421.—Jan Coster, by.--- 

1436.—Lourijs Coster, by inheritance. 

1484. Frans Thomas Thomasz, by....! Pa ¥ 
1497.—Gerrit Thomas Pieterz, by inheritance from his father. 
1564.—Cornelis Gerritz, by inheritance from his father. 
1589.—Anna Gerritsdr, by purchase from her cousin. 


The names of the successive owners of chair 29 are continued in the book, 
but they are of no interest in this inquiry. : 

The archives of the church and town of Haarlem contain the names of 
other Costers, but there is no other Coster who will answer the description 
of Junius and Thomaszoon. The Lourens Janszoon Coster of the pedigree, 
the Louwerijs Janssoen (so called only after the year 1441) or Lourijs Coster 
of the archives, and the Lourijs Coster of the chair-book are, without doubt, 
the different names of the same man. This is the man who, according to 
Thomaszoon and Junius, brought the first ps in the world. But he appears 
as a printer only in the pedigree. The are rives.and the chair-book do not so 
describe him; they tell us nothing of his invention, nor of the alleged stealing 
of his types, nor of his death in 1439. The town-book says that he was living 
in 1483. In no document does he appear as sheriff, sexton, or treasurer. 

1 The exact nature of the relationship be- who left Haarlem in 1483— of Thomas Pieter- 
tween Laurens Janszoon Coster and Gerrit zoon (probably the son-in-law of Coster), 
Thomaszoon is not clear! defined, but the sheriff, who died in 1492 — of Gerrit Th: mas- 
archives of the town and the vellum pedigree zoon (according to the pedigree, a great-great 
corroborate each other in establishing the ex- grandson of Lourens Janszoon Coster), & 
jstence —of Lourens Janszoon Coster (son of sheriff and an innkeeper. He was, also, & 
Jan Coster), tallow chandler and innkeeper, sacristan or church-warden. 


a) 


S 


‘d1'Io 


‘d1TOS 


TO PICA LEADS. 


8 


WITH 


WITH 8 TO PICA LEADS. 


THE DOWNFALL OF THE LEGEND. 


It is obvious that the legend of Coster the printer rests entirely upon 
the pedigree and its amplifications by J unius. But the pedigree is of no 
authority. Its information is not confirmed by the records; its falsifica- 
tions and its suspected history compel every candid reader to reject its 
evidence altogether. We have to accept in preference the testimony of 
the archives, and have to admit that there is no credible evidence that 
Coster printed anything at any time. The Lourens Janszoon Coster of 
typographical history is as fictitious a personage as the Cadmus of Greek 
mythology. He is really more fictitious, for he is the representative of 
two men. 

The revelations of Dr. Van der Linde show that Lourens Janszoon 
Coster has been confounded with Laurens Janszoon or Louwerijs Jans- 
zoon, who was a man of some distinction, a wine merchant, innkeeper, 
councilor, sheriff, treasurer and governor of the hospital. He is the man 
of civie offices, of wealth and high social position, who has been described 
by Koning. He is the man whom Meerman represented as an unrecog- 
nized member of the noble family of Brederodes. But he is, certainly, 
not the man described on the pedigree as the Coster who brought the 
first print in the world. He is not the man described by Junius who 
lived “about one hundred and twenty-eight years ago,” or in 1440, for 
the records of the church of St. Bavo prove that Laurens Janszoon died 

and was buried in 1439, It 

is not at all probable that 

Thomaszoon or Junius made 

any mistake in the name, and 

that it was this Louwerijs 

Janszoon who brought the 

first print in the world. 

There is no more evidence 

in favor of Janszoon as an 

inventor of printing than 

there is in favor of Coster. 

The most careful searching 

; of the records fails to bring 
tg F to light any evidence that he 
; was engaged in the practice 

E 5 of printing. 

For this improper confusion 
of the names and deeds of the 
two men, Junius and Scrive- 


rius are responsible. Junius, 
who wrote in Latin, caught 
at the word Coster, which he 
found in the pedigree, as a 
subject for the display of his 
critical ability. He explains 
and expounds it: ‘“ Lourens 
Janszoon, surnamed Coster, 
by reason of the office which 
belonged to the family by 
hereditary right.” There was 
no need for this absurd ex- 
pansion of the meaning of the 
word custos. This attribution 
of an honorable office to an 
insignificant man was pur- 
posely made to give him a 
dignified position. Gerrit 
Thomaszoon, who knew that Coster was a man of no note, gave him only 
the distinction of the first printer. This was not enough for Junius, who 
thought that he would be deficient in patriotism if he did not make 
Coster as reputable as his rival Gutenberg, who was represented as of 
noble blood. The word Coster was his opportunity, and he made the 
most of it. It is not probable that Junius studied the archives of Haar- 
lem for the purpose of getting exact information about Coster, but it is 
possible that he had read or heard of Lourens Janszoon, the wealthy 
man, and that he confounded him with Coster, the chandler. Whether 
he made this confusion with intent or in ignorance cannot now be ascer- 
tained, but we can see that the wealth and respectability of Janszoon 
were attributed to Coster. Scriverius perpetuated the plunder. He found 
a document signed by Louwerijs Janszoon, as sheriff, in 1481. Without 
further research, he leaped to the conclusion that this man who died in 
1439, who had nothing in common with Coster put similarity of name 
and similarity of occupation as innkeeper, was the very Lourens Jans- 
zoon Coster who, according to Junius, invented types and practised 
printing in 1440, 

That Lourens Coster kept a tavern may also be inferred from the fact 
that the house he lived in was always known as a tavern. The above 
engraving of this house shows how the edifice appeared in 1740. Junius 
said that it was a house of some pretention in 1568, and that it stood 


GEORGE BRUCE’S SON & CO., Typr-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


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120 


Nonpareit, No. 13. 


THE DOWNFALL OF THE LEGEND. 


on the market-place near the royal palace; but Van Zuren had previously 
noticed it as a house falling to decay. In 1628, Scriverius said that the house 
had been ‘‘changed and was divided among three masters:” the part sup- 
posed to be the Coster residence was called The Golden Bunch of Grapes, and 


it was even then used as a tavern. 
house, in 1706, it was a cheese shop. 


When John Bagford first saw the 
In 1761, Moses Van Hulkenroy, a 


printer, lived in part of it, and the other part was occupied as an inn, 


then known as The Golden Fleece. 


In 1813, the centre building was used as 


a public house. It fell into ruins on the 13th of May, 1818, but it has since 


Laurens Janszoon Coster. 
{From Maittaire.] 


been rebuilt, and a tab- 
let inserted in memory 
of Coster. It is proba- 
ble that this house was 
an inn when Junius 
wrote Batavia, and 
that he refrained from 
mentioning this cir- 
cumstance lestit might 
degrade Coster. But 
we now know that Cos- 
ter, and Pieter Thom- 
aszoon, his son-in-law, 
who succeeded him in 
business, and that Ger- 
rit Thomaszoon, the 
author of the petligree, 
were all innkeepers. 
The wine-flagons, to 
which Junius points so 
triumphantly, were a 
proper portion of the 
furnishings of an inn, 
To the modern reader, 
who has been informed 
thata part of this house 
has always been a 
drinking tavern for 
the refreshment of the 
men of Haarlem, these 
pewter mugs, or flag- 
ons, aS Junius names 
them, are not, as he 
would have us believe, 
indisputable evidence 
that their first owner 
must have been a 
printer. 

The falsity of the le- 
gend is abundantly es- 


THE DOWNFALL OF THE LEGEND. 


tablished by the dissimilarity of the many engraved likenesses, which from 


time to time have been presented as portraits of Coster. 


The earliest rep- 


resentation of the alleged inventor was published by Scriverius,! not quite 


two centuries after Coster is said to have died. 
The only attest to the accuracysof the portrait is 
Seriverius himself, and it need not be said that he 
is not a trustworthy witness. There have been 
many variations of this well-known engraving. Van 
der Linde suggests that this engraving by Seriv- 
erius may be a portrait of Gerrit Thomaszoon, appro- 
priated for the exigency. There is a peculiarity in 
the engraving which plainly proves that the portrait 
could not have been painted during the lifetime of 
Coster. The ‘true effigies of Laurenz” carries in his 
right hand a matrix of the letter A of the Roman 
form, but letters of Roman form were not used at 
Haarlem in 1440, Books attributed to Coster have 
letters in the Gothic style.2 

In 1630, a new portrait of Coster was published 
by Adrien Rooman, with Latin and Dutch verses 


1 Moxon’s copy of this engraving is shown on p. 112 of this book. 

2 Van der Linde tells a curious story about Hollandish credulity: 

“The most amusing imitation was that of an amateur artist 
of the last century, C. Van den Berg, who wished to play the col- 
lector J. Marcus a trick. He engraved a small wood-cut after 
the portrait of Van Campen, with the name Law’ Jassoe, in old- 
fashioned style underneath. With a little soot and dirt, he gave 
the copies an antique appearance, and made Marcus happy for a 
few weeks. The poet Langendijk, the type-founder Enschedé, 
and other amateurs, each got a copy. Van den Berg was too 
honest to mean anything more than fun; he told afterward to 
Marcus himself the value of that antique wood-cut. Although 
every investigator could and ought to have known these things, 
yet Jacobus Koning was bold enough, in the second nomencla- 
ture of his collection of rare books and manuscripts, to describe 
a copy of this portrait as ‘printed by, or at the time of, Lourens 
Janszoon Koster’...., The Haarlem painter, L. Van der Vinne, 
in his youth, fae in the beginning of the former century, a 
study, aftera drawing of Van Campen. But lo! in 1762, this picture 
is offered for sale by Van Damme at Amsterdam (the same who 
produced the false inscriptions respecting the imaginary Corsellis 
of Oxford), provided at the back with a very old inscription, 
Lours Jans to Haarlem mccccxxxm, and the monogram A O, 
which was explained to mean Albert Van Oudewater. Excellent 
discovery! I ere was a genuine contemporaneous portrait by a 
painter of the fifteenth century! A trifle, however, was wanted 
to make the joy erfect. Albert Van Oudewater, who had paint- 
ed the celebrated inventor of printing in 1433, was born in 1444! 
This history is full of despairing irony from beginning to end. 
Just as the sheriff Lourens Janszoon invents the art of printing 
after his death; just as Cornelis works at Donatuses before his 
birth; just as the chandler Lourens Janszoon Koster entirely 
forgets his invention daring his lifetime; so the painter Albert 
Van Oudewater becomes a zealous Costerian long before he was 
born.” Van der Linde, Haarlem Legend, p. 145, 


GEORGE BRUCE’S 


qi 
F 


‘dI'TO 


WITH 7 TO PICA LEADS. 


The Laurens Janszoon of Meerman. 
{From Meerman.] 


THE DOWNFALL OF THE LEGEND. 


attached. Boxhorn mentioned this engraving in 
such a manner that strangers were led to believe 
it was a statue that had been erected to Coster. 
Jacob Van Campen was induced to make another 
painting of the grim features in a more truly ar- 
tistic style. His idealized head of Coster was en- 


graved by Cornelis Koning, whose reproduction of — 


the painter’s fancy has ever since been accepted 
as an authentic portrait. The round cap, the furred 
robe, and the matrix in the extended hand, are 
the features of the Scriverius portrait; but the 
head is that of another man. ‘The stony face 
which Scriverius presented as the image of Coster 
was somewhat softened by the pencil of Van 
Campen, but after he had exhausted upon it all 
the resources of his art, it still remained a grim 
and unsatisfactory head, a head without any ex- 
pression of genius or even of culture—the head 
of a hard innkeeper, but not of an inventor. It 
was a biting satire upon the story of Junius, all 
the more offensive because the portrait had gs 
strong claim to authenticity as the legend. 
Meerman refused to accept the fancy of Van 
Campen as a faithful portrait. He produced a 
new likeness of the inventor, and claimed for it 
a superior truthfulness. In the same year, 1765, 
Van Osten de Bruyn published an engraving of 
the same head, with this explanation: “Laurens 
Janszoon, sheriff of the town of Haarlem, inventor 
of the noble art of printing...after an old picture 
bought from William Corneliszoon Croon, the 
last descendant of Laurens Janszoon, who died, 
unmarried, at Haarlem in 1724.” We find no 
vouchers for the authenticity of this portrait. 
Croon was the man by or for whom the vellum 
pedigree was continued. He was equally inter- 
ested with the originator of the pedigree, Gerrit 
Thomaszoon, in upholding the legend. Whether 


A Spurious Portrait 
by Van den Berg. 
[From Koning. } 


hioOuals 
Sella 


Van Oudewater. 
[From Koning, ] 


THE DOWNFALL OF THE LEGEND. 


Croon was ignorant of the fact that Laurens Janszoon, the sheriff, was 
not Lourens Janszoon Coster, is not so clear; but it is clear that the 
portrait submitted by Croon does not resemble the 
portrait furnished by Scriverius. Gockinga asserts 
that the engraving made by Meerman (after Croon’s 
portrait) is like the engraved head of Sir Thomas 
Van der Linde says that the 
Coster of Meerman closely resembles the engraved 
portrait of a once celebrated inquisitor, one Ruard 
Tapper of Enkhuizen.! The Coster of Scriverius and 
the Coster of Meerman are certainly different men. 

Everywhere but in Holland and Belgium, Dr. Van 
der Linde’s exposure of the spuriousness of the 
legend has been accepted as the end of all debate. 
Coster must hereafter be regarded as one of the 
heroes of fiction and not of history. With the down- 
fall of Coster, fall also all the speculations concerning 
an early invention of printing in the Netherlands by 
an unknown or unnamed printer. 

In Holland, Dr. Van der Linde’s book has been 
denounced as unpatriotic, but it has not met with a 
suitable answer. The indignation manifested toward 
the author has been so violent that he, a native Hol- 
lander, has found it expedient to remove to Germany. 

The only evidence which seems to give probability 
to the assertion that typography was first practised 
in the Netherlands is the fact that an unknown print- 
er had printed there some little books before Ketelaer 
and De Leempt, in 1473. Whoever this printer may 
have been, it still remains to be proved that he did 
any typographic work before 1463, 


1The dissimilarity between the calm, philosophic face of the 
Coster of Meerman and the sour features of the Coster of Scri- 
verius is neatly explained by Dr. Abr. De Vries: 

“The portrait given by Scriverius was painted from a sketch or 
study made after Coster’s death 
AE and cadaverous ; but no portrait, 


More of England. 


?7 4 


erius. 


and was, necessarily, gloomy 
owever beautiful, unless it was 
a true and genuine likeness, could satisfy the truth-loving Scriv- 
The truth was to be well founde 
cadaverous hue and the marks of death in Van Campen’s 
are strong evidences for the genuineness and faithfulness 


the original representation and of Van Campen’s copy!” 


SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREDT, NEW-YORK. 


if he endorsed it, The 
icture 
oth of 


NonpareEIL, No. 


13. 


xX 


JOHN GUTENBERG AT STRASBURG. 


Gutenberg’s Place as an Inventor... His Birth at Mentz... Subsequent Residence in Stras- 
burg... Barly Suits at Law... His Probable Marriage... Is Sued by Claus Dritzehen.,.The 
Judge’s Statement... Testimony of the Witnesses... Gutenberg the Chief of an Association. 
Engaged in a Secret Art... Notices of a Press and of a Mysterious Tool of Four Pieces. 


Notices of Forms that were Melted, and of Printin 
Reputation for Knowledge of Curious Arts. 


f: .. Decision of the Judge... Gutenberg’s 
. Polishing Stones... Making Mirrors... The 


Secret Art was Printing with Founded Types... Secret was not in the Press... Illustration 
of Old Screw Press... Testimony of the Barlier Authors... Tool of Four Pieces was a Type- 
Mould... Fac-simile of Garamond’s Mould... Fac-simile of an Early Donatus... Gutenberg’s 


Financial Embarrassments and Failure. 


But whoever were the Inventers of this Art, or 
Science of Sciences (say they), certain it is, t 


(as some authors will have it,) Science, nay, 


hat in all its Branches it can be deemed little 


less than a Science... or my part, I weighed it well in my thoughts, and I find.,. that a 


Typographer ought to be a man of Science. 


By a Typographer, I do not mean a Printer. 


I mean such a one, who by his own Judgment, from solid reasoning with himself, can 
either perform, or direct others to perform, from the beginning to the end, all the Handy- 
works and all the Physical Operations ae to Typographie. Such a Scientifick man 


was doubtless he who was the first Inventer of 


Moxon did not overrate the rank of 
typography among the arts. It is a 
science, and, like all sciences, is the 
fruit of the knowledge which comes 
only by study. Like all sciences, it 
came in the fullness of time, when the 
world had been prepared for it, but it 
came only to him who had qualified 
himself for its handiworks from begin- 
ning to end. In the description of the 
work of John Gutenberg about to be 
related, imperfect as it must be by 
reason of our ignorance of his thoughts 
and plans, we shall clearly see that 
the invention of typography was not, 
as Junius would have us believe, the 
result of a BarDy Shonen or of a flash 
of inspiration. It was not born in a 
day. To use the sound language of 
an old chronicler, it was thought out 
and wrought out. 


ypographie.—Joseph Moxon, 1683, 


The work of Gutenberg will require 
a treatment different from that given 
to the work of Coster. It is not nec- 
essary to introduce the subject by a 
description of his books, by proof of 
his existence from writings made a 
century after his death, and, by a train 
of fine speculative reasoning, to show 
that he should have been the printer 
of the books ascribed to him by con- 
jecture. Our knowledge of Gutenberg 
is incomplete, but it is positive as far 
as it goes. He did not put his name 
on any book, but he certainly printed 
many books; it does not appear that 
he ever boasted that he was the in- 
ventor of typography, but this honor 
was conceded to him by many print- 
ers soon after his death. His antago- 
nists in courts of law, as well as the 
friends who put up tablets to his mem- 


JOHN GUTENBERG AT STRASBURG. 


ory, have told us, as plainly as could 
be desired, that he was a master of 
many curious arts, and that he had 
made a broad and unmistakable mark 
on his time. 

There is no record of the birth of 
Gutenberg, but it is the belief of 
his German biographers that he was 
born at Mentz about the year 1399. His 

arents were, Frielo Gensfleisch and 
Bice Gutenberg. Their two children 
were, John Gutenberg, named after 
his mother, and Frielo Gensfleisch. 
Frielo junior was always called Gens- 
fleisch, but John, whose relation to the 
Gensfleisch family must have been 
well known, was sometimes described 
as John Gensfleisch, junior. 

There is no known authentic auto- 
graph of Gutenberg. In his day the 
name was written other persons, 


Guttemburg, Gudenburch, Gooden- 


berger, Guthembergius, Gudenbergh, 
Kuttenberg, and in Tang other ways. 
The form of spelling used in this book 


is the one preferred by learned Ger- 


man bibliographers. Gensfleisch, in 
German, is gooseflesh; Gutenberg is 
good hill. ‘ 

Bodmann, a librarian at Mentz, said 
that he had discovered two old docu- 
ments which set forth that Gutenberg 
had a brother, Conrad, and two sisters, 
Hebele and Bertha. Meats Seg ys that 
these documents, as reprinted by Fis- 
cher, ave spurious. 

It seems that Else Scag was 
the last surviving member of her 
family. According to a German cus- 
tom prevailing at that time, a son was, 
under certain circumstances, permit- 
ted to take the name of his mother 
when it was feared that her family 
name might become extinct. 

‘A legal document of the city of Stras- 
burg names him John, called Gens- 
fleisch, alias Gutenberg, of Mentz. 
The name of the brother of Frielo 
Gensfleisch, senior, was John Gens- 


fleisch, senior. He is the man im- 
properly described by Meerman as the 
elder brother of John Gutenberg. The 
identity of his baptismal name with 
that of the inventor of printing has 
been the occasion of many mistakes. 
The uncle has been confounded with 
thenephew. The family was wealthy: 
it had, in or near Mentz, three houses 
or estates, known as Zum Gudenberg, 
Zum Jungen and Zum _ Gensfleisch. 
The members of the family were some- 
times called Sulgeloch or Sorgenloch, 
from a property on which they re- 
sided outside of Mentz. 

The infancy and youth of Gutenberg 
were passed amid scenes of strife. In 
Mentz, as in many other cities of Ger- 
many, the burghers made persistent 
encroachments on the privileges of the 
noblemen, and met with as persistent 
resistance. The municipal disorder 
which followed their frequent colli- 
sions was seriously aggravated by the 
disputes of the rival archbishops who 
held office under rival popes. The 
burghers, as the larger body, claimed 
the larger share of the city offices, and 
the right to take the lead on occasions 
of ceremony and in the administration 
of affairs. In the year 1420, the burgh- 
ers of Mentz made preparation for the 
entertainment of the Emperor, on the 
occasion of his visit to the city. Cir- 
cumvented by the action of the noble- 
men, who greeted the Emperor first, 
the burghers retaliated by the destruc- 
tion of the houses and goods of the 
more obnoxious nobles. In their rage, 
they demanded of them humiliating 
guarantees, and put them under re- 
strictions so galling, that Frielo Gens- 
fleisch and many others preferred to 
go in exile. 

This is the version of chroniclers in 
the interest of the nobles. The child- 
ish dispute about precedence seems 
an insuflicient cause for the quarrel. 
Tt was, probably, the occasion, but 


‘aTTIO$s 


‘CITOS 


WITH 8 TO PICA LEADS. 


WITH 8 TO PICA LEADS. 


121 


JOHN GUTENBERG AT STRASBURG. 


not the cause. It was the spark which 
set on fire the stifled resentment of 
the burghers against a long course of 
neglect and of misgovernment. The 
Gensfleisch families seem to have 
been always prominent in the civil 
disturbances of Mentz. Gutenberg’s 
great-great grandfather took sides 
with one of the rival archbishops, 
and, in 1332, aided him in burning 
some convents, for which he was put 
under ban by the Emperor Louis. In 
the same year, he and other noblemen 
made themselves so offensive to the 
burghers that they were obliged to 
flee for their lives. 

It is not known where the Gens- 
fleisch family took refuge. It is sup- 
posed that Strasburg was the city se- 
lected, for this is the city in which we 
find the earliest notice of Gutenberg. 

In 1430, the Elector Conrad m1 
granted a full amnesty to many of the 
exiled citizens of Mentz, and summon- 
ed them to return. Johan Gutenberg 
was specifically named in the proc- 
Jamation, but he continued to dwell 
abroad. During this year, his moth- 
er Else, then a widow, negotiated, 
through her son, for her pension of 
fourteen guilders which had been 
allowed to her by the magistrates of 
Mentz. In 1482, he visited Mentz, 
probably on business relating to this 
pension. These are the only known 
records of his early manhood. 

Nothing is known about his educa- 
tion. Some writers have represented 
him as an engraver on wood or a 


printer of cards or of block-books at 
an early age. It is possible that he 
may have received instruction in the 
arts of block-printing and engraving, 
and that he may have traveled far 
and wide in quest of greater knowl- 
edge,! as was and is customary with 
German artisans; but we have no 
evidence on this point. It must be 
confessed that the first thirty years 
of his life are virtually blank. 

The most important actions of his 
after life would have been obscured 
quite as thoroughly, if it had not been 
his fate to appear many times, either 
as complainant or defendant, before 
the courts of his country. It is from 
the records of these courts that we 
glean the story of his life. He first 
appears as complainant in a suit at 
law which shows his high spirit and 
audacity. ‘The magistrates of Mentz 
had neglected or refused to pay to 
Gutenberg the sum of money which 
he claimed as his due. Gutenberg, 
waiting for his opportunity, caused to 
be arrested the clerk or recorder of 


1Charles Winaricky, a learned Bohemian, 
wrote a dissertation on the birthplace of 
Gutenberg —Jean Guttenberg, né en 1412 a 
Kuttenberg en Bohéme, 12mo. Brussels, 1847 — 
in which he tried to prove: that Gutenberg 
was born in the year 1412, in the town of Kut- 
tenberg in Bohemia, from which town he de- 
rived his name; that he was a graduate of the 
university of Prague; that he acquired his 
knowledge of metallurgy from the metal 
workers of that old mining town; and that 
his proficiency in many curious arts was the 
result of his Bohemian education. Wina- 
ricky’s book abounds with curious informa- 
tion, but his reasoning is largely based on 
conjecture. It cannot be used to discredit the 
positive dates and facts of many German 
records. 


JOHN GUTENBERG AT STRASBURG. 


the city of Mentz, who happened to 
be in Strasburg. This sudden arrest 
seems to have been a great annoyance 
to the magistrates of Strasburg, who 
feared that it would endanger the 
friendly relations of the two cities. At 
their request he consented to relax 
his hold on the unfortunate clerk.! 
This is the first plain proof we have 
of his residence in Strasburg in 1434. 

In the same year he formally au- 
thorized his mother to act for him in 
the adjustment of some business be- 
tween him and his brother Frielo. 
This authorization, which is recorded 
in the city books of Mentz and of 
Frankfort, would imply that he was, 
or intended to be, absent. 

In 1436, he appeared as defendant 
before the tribunal of Strasburg. 
Anne, called Zur Isernen Thur (Anne 
of the Iron Gate), sued Gutenberg for 


1This is the form of complaint: “I, Johan 
Gensfleisch, the younger, also called Guten- 
berg, declare by this letter, that the worshipful 
sage burgomaster and the council of the town 
of Mentz owe me every year a certain interest, 
according to the contents of letters which con- 
tain, among other things, that, if they do not 
pay me, I am at liberty to seize and imprison 
them. As I have now to claim much rent in 
arrears from the said town, which they were 
hitherto not able to pay me, I caused M. Nico- 
laus, secretary of Mentz, to be seized, where- 
upon he promised me and swore to give me 
310 valid Rguilders, to be paid at Copel eae 
before the following Whitsuntide. I acknowl- 
edge, by this letter, that the burgomaster and 
council of Strasburg have induced me to re- 
lieve of my own free will, in honor and love of 
them, the said M, Nicolaus from his imprison- 
ment, and from the payment of the 310 guild- 
ers. Given on Sunday (12th of March),1434.” 

The ease with which Gutenberg relinquish- 
es his monetary claim, and which at once 
shows him to be a better knight than finan- 
cier, exhibits a trait of character which ex- 
plains much in his later fate. Van der Linde, 
Haarlem Legend, p. 13. 


a breach of promise of marriage. The 
judgment of the court is not given. 
Most writers on the subject believe 
that the suit was withdrawn, and that 
the case was closed by marriage. 
After this suit, the name of Ennel 
Gutenberg, who, according to Scheep- 
flin, is none other than this Amne, 
appears on the tax-roll of the city of 
Strasburg. It does not appear that 
Anne had any noticeable influence 
over his subsequent life; she did not 
follow him to Mentz; it is not certain 
that she was living in 1444. 

In the year 1439, John Gutenberg 
again comes before the court, and 
again as defendant. The testimony 
brought out on this trial reveals Gu- 
tenberg to us as an experimenter and 
inventor. The official record! is long 
and full of matter that seems irrele- 
vant, butit presents a curious picture 


1For more than three hundred years this 
important document, with other records of 
the courts of Strasburg, rested unknown and 
undisturbed in the old tower Pfenningthurm, 
in which place it was discovered by Wenkler. 
the keeper of the records. He communicated 
this fact to Schepflin, who, perceiving its 
value, made it the great feature of the Vin- 
diciew Typographice. The record is imperfect, 
for it does not contain all the testimony of all 
the witnesses. Whether this deficiency is due 
to the neglect of the recorder, or to the decay 
or mutilation of the record, has not been fully 
explained. Scheepflin, who says it is written 
in an almost obsolete German dialect hard to 
be understood, reprinted it in full, accompa- 
nied with a translation in Latin, which has 
been censured as inaccurate. Dr. Dibdin, and 
a few carping bibliographers, who looked with 
disfavor on all newly discovered documents 
which obliged them to revise their own theo- 
ries, have tried to throw discredit on this rec- 
ord, but its authenticity is now recognized as 
beyond controversy. The records were placed 
in the library of Strasburg for safety, but they 
were destroyed by the Prussians during the 
siege of that city in 1870. 


GEORGE BRUCE’S SON & CO., TyPpE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


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122 


Nonparein, No. 14. 


JOHN GUTENBERG AT STRASBURG. 


of the time which deserves study. This is the judge’s statement of the case, 
as delivered by him on the 12th day of December, 1439: 

“Wr,1 Cune Nope, master and counselor at Strasburg, hereby make known 
to all who shall see this writing, or shall hear the reading thereof, that George 
Dritzehen, our fellow-citizen, has appeared before us in proper person, and with 
a full power of attorney for his brother Claus Dritzehen, and has cited John 
Gensfieisch, of Mentz, called Gutenberg, our fellow-resident, and has deposed 
that the late Andrew Dritzehen, his brother, had inherited from his deceased 
father valuable effects, which he had used as security, and from which he had 
realized a considerable sum of money; that he had entered into co-partnership 
with John Gutenberg and others, and [with them] had formed a company or 
association, and that he had paid over his money to Gutenberg [the ¢ ief] of 
this association; and that for a certain period of time they had carried on and 

ractised together their business, from which they had reaped a good projit ; 
but that, in consequence of the speculations of the association, Andrew Drit- 
zehen had made himself personally liable, in one way and another, for the lead 
and other materials which he had purchased, and which were necessary in this 
art, or trade, and which he [George] would also haye been responsible for and 
would have paid; but inasmuch as in this interval Andrew had died, he 
George] and his brother Claus had requested with importunity of John Guten- 

erg that he should receive them in the association in the place of their late 
brother, or else, that he should account to them for the money that he [Andrew] 
had put in the association; but that he [Gutenberg] was unwilling to comply 
with their request, alleging, as an excuse, that Andrew Dritzehen had not, as 

et, paid his proper quota into the association. Now he, George Dritzehen, 
Patleyal that he was abundantly able to prove that this agreement was just as 
he had represented: he had pleaded that Gutenberg should take him and his 
brother Claus in the association, in place of their late brother, for they were 
his lawful heirs, or that Gutenberg should return the money which their late 
brother had invested, or that he should at least give the reason why he would 
not accede to their demand. 

“Tn answer, John Gutenberg, had replied that the complaint of George Drit- 
zehen seemed to him very unjust, inasmuch as he could sufficiently establish, 
through many notes and writings [the nature of which George and his brother 
Claus could have learned after the death of Andrew Dritzehen]; under what 
rules the association was formed. In truth, Andrew Dritzehen came to him 
many years ago, and had asked him to communicate and to teach to the said 
Andrew many secrets: it was for this reason, and to comply with his request, 
that he had taught him how to polish stones, from which art Andrew Drit- 
zehen had derived a good profit. Afterward, after a long interval of time, he 
{Gutenberg} had made agreement with Hans Riffe, mayor of Lichtenau, to 
work up a secret for the fair at Aix-la-Chapelle, and they were associated to- 
gether after this fashion: Gutenberg was to have two shares of the business, 
and Hans Riffe one share. This agreement came to the knowledge of Andrew 
Dritzehen, who begged Gutenberg to communicate and teach him this secret 
also, for which Andrew Dritzehen promised to be his debtor, on Gutenberg’s 
own terms. In the meantime, the elder Anthony Heilmann had made the same 
request in fayor of his brother Andrew Heilmann; whereupon he [Guten- 
berg] had considered these two applications, and he had promised, at their 

1Conventionally used for I. 


JOHN GUTENBERG AT STRASBURG. 


solicitation, to make known to them the secret, and also to give and grant to 
them the half of the profits, in this wise: that they two should have one share, 
Hans Riffe one share and he [Gutenberg] one share; but that as a considera- 
tion, the two should give to him [Gutenberg] 160 guilders for the trouble that 
he would have in teaching them, and,for the communication of the secret, and 
that they should, afterward, each give him 80 guilders additional. At the time 
when they were determining their agreement it was understood that the fair 
would be held the same year, but when they were all ready, and prepared to 
work out the secret [7. e. to manufacture the merchandise intended for the fair] 
the fair was postponed to the following year. Thereupon, they [Anthony and 
Andrew] had made request that Gutenberg would hide nothing from them which 
he knew or would discover of secrets and inventions, and they at once proposed 
to him to name his terms; and it was then agreed that they should add to the 
sum first named 250 enilders, making in all 410 guilders; and that they should 
at once pay 100 guilders in cash—of which sum, at that time, Andrew Heil- 
mann paid 50, and Andrew Dritzehen paid 40—so that Andrew Dritzehen re- 
mained a debtor to the amount of 10 guilders. It was also understood that the 
two partners should pay the 75 guilders due and unpaid, at three different 
dates which were stipulated; but before the expiration of these dates Andrew 
Dritzehen had died, still in debt to Gutenberg. At the time when the agree- 
ment was made, it had been decided that the accomplishment of their secret 
[the duration of copartnership] should occupy five entire years: in the event 
of the death of any one of the four partners, during this five years, all the 
implements pertaining to the secret, and all the merchandise that had been 
manufactured, should be vested in the remaining partners, and that the heirs 
of the partner who had died should receive, at the end of five years, 100 
guilders. Consequently, and because the contract, which is expressed in these 
yery terms, and which contract was found at the house of Andrew Dritzehen, 
fully set forth all these stipulations, and those that preceded it, as he John 
Gutenberg hopes to prove by good witnesses, he demands that George Drit- 
zehen and his brother Claus should deduct the 85 guilders which were still 
due to him from their late brother, from the 100 guilders, and then he would 
consent to return to them the 15 guilders, although he was still fairly en- 
titled, according to the terms of the contract, to several years, before this 
money should be payable. As to the declaration made by George Dritzehen 
that the late Andrew Dritzehen, his brother, had taken much money by the 
pledge of his goods and of his inheritance from his father, he did not think it 
worth consideration, for he [Gutenberg] had not received from the goods or 
inheritance anything more than he had before first stated, except a half-omen 
of wine, a basket of pears, and a half-fuder of wine, which Andrew Dritzehen 
and Andrew Heilmann had given to him; that, moreover, the two men had 
consumed the equivalent of this and more besides at his house, for which they 
had neyer been asked to pay anything Moreover, when he, George Dritzehen. 
demanded to be admitted in the partnership as an heir, he knew very well that 
this claim was no better founded than any other; and that Andrew Dritzehen 
had never been security for him, neither for lead, nor for any other matter, 
except on one occasion before Fritz yon Seckingen; but he had, after his death, 
satisfied this obligation; and it is for the purpose of establishing the truth of 
these assertions that he demands that the depositions should be heard.” 


“d1'IO8 


‘daTIO$S 


WITH 7 TO PICA LEADS. 


a 


WD. 


WITH 7 TO PICA LEAD 


JOHN GUTENBERG A'T STRASBURG. 


The depositions contain the most curious portions of the pleadings, for it will 
be noticed that Gutenberg and Dritzehen have not described the secret, 
Gutenberg did not wish to divulge it, and Dritzehen probably hoped to 
discover it in the evidence, which begins mysteriously and dramatically. 

“Barbel von Zabern, the mercer, testified, that on a certain night, she 
had talked with Andrew Dritzehen about various matters, and that she 
had said to him: ‘But will you not stop work, so that you can get some 
sleep?’ He replied to her, ‘It is necessary that I first finish this work.’ 
Then the witness said, ‘But, God help me, what a great sum of money 
you are spending? That has, at least, cost you 10 guilders.’ He answered, 
‘You are a goose; you think this cost but 10 guilders. Look here! if you 
had the money which this has cost over and above 300 guilders, you would 
have enough for all your life; this has cost me at least 500 guilders. It 
is but a trifle to what I will have to expend. Itis for this that I have 
mortgaged my goods and my inheritance.’ ‘But,’ continued the witness, 
‘if this does not sueceed, what will you do then?’ He answered, ‘It is 
not possible that we can fail; before another year is over, we shall have 
recovered our capital, and shall be prosperous: that is, providing God does 
not intend to afflict us.’” 

This dialogue puts two of the partners in a clear light: the domination 
of Gutenberg and the faith of Dritzehen are perfect. Unmoved by the cold 
distrust of shrewd Madame Zabern, Dritzehen persists in his work, trusting 
confidently in the genius of Gutenberg and the success of the process. ‘It 
is not possible that we can fail.” In the testimony of the next witness we 
find the first clue to the secret. 

“Dame Ennel Dritzehen, the wife of Hans Schultheiss, dealer in wood, 
testified that Lorentz Beildick [personal servant to Gutenberg] came on a 
certain day to her house where Claus Dritzehen, her cousin, happened to 
be, and said to the latter, ‘Dear Claus Dritzehen, the late Andrew Drit- 
gehen had four pieces lying in a press, and Gutenberg begs that you will 
take them away from the press, and that you will separate them, so that no 
one can see what it [the tool or implement made of four pieces] is, for he 
does not wish that any one should see if.’ This witness also testified that 
when she was with Andrew Dritzehen, her cousin, she had assisted him 
night and day when he was on this work. She also said that she knew 
very well that Andrew Dritzehen, her cousin, had, during this period, 
mortgaged his capital; but as to how much of it he had devoted to this 
work, she knew nothing.” 


JOHN GUTENBERG AT STRASBURG. 


The nature or the purpose of this tool of four pieces lying in the press is 
not explained by any of the witnesses. It seems that Gutenberg feared 
that it would, when fitted together, be readily understood, and would reveal 
the secret. His inquietude about it is also set forth by Hans Schultheiss. 

“Hans Schultheiss testified that Lorentz Beildick came one day to his 
house with Claus Dritzehen, where this witness had conducted him. It 
was at or about the time of the death of Andrew Dritzehen; Lorentz Beil- 
dick said, ‘Your late brother, Andrew Dritzehen, has fowr pieces lying down 
in [or underneath] @ press, and Gutenberg begs that you will take them 
out and separate them, so that no one will be able to see what it is.’ 
Claus Dritzehen searched for the pieces, but could not find them. This 
witness heard, a long time ago, from Andrew Dritzehen that the work had 
cost him more than 300 guilders.” 

It is obvious that these four pieces were not a part of the press. Prop- 
erly put together, they constituted one tool. Another witness repeats the 
story, describing this tool as 7. 

“Conrad Sahspach testified that Andrew Heilmann came to him one day 
when he was in the market square and said: ‘Dear Conrad, Andrew Drit- 
zehen is dead, and as you are the man who made the press, and know all 
about the matter, go there, and take the pieces out of the press and separate 
them, so that nobody can know what it is.’ But when this witness went 
to look after the press (it was on St. Stephen’s day last) the thing [it] had 
disappeared. This witness said that Andrew Dritzehen had once borrowed 
money from him, which he used for the work. He knew that he had mort- 
gaged his property.” 

It does not appear that there was any secret about the construction of 
the press. Sahspach, who was not one of the partners, was authorized, 
not to disjoint the press, but to remove and disconnect the form of four 
pieces in the press, which seems to have been the key to the secret. 

The poverty and the subsequent despondency of Andrew Dritzehen are 
described by Hans Sidenneger, who testified that Andrew had mortgaged 
all his property. His honesty is acknowledged by Werner Smalriem, who 
testified that he had lent him money and had been repaid. His anxiety 
about his debts, and his death, which seems to have been the result of 
overwork, are briefly related by Mydehart Stocker. 

“Mydehart Stocker deposed that the late Andrew Dritzehen fell sick on 
St. John’s Day, or about Christmas time. When he fell sick, he was laid 
upon a bed in the room of this witness. And this witness went to him 


GEORGE BRUCE’S SON & CO., TypE-FounpDrERS, No. 13 CHampBers-StrEeEt, NEW-YORK. 


le 


Nonparein, No. 14. 123 


JOHN GUTENBERG AT STRASBURG. 


and said, ‘Andrew, how are you?’ And he answered, ‘I believe that I am on 
my death-bed. If I am about to die, I wish that I had never been connected 
with the association.’ Witness said, ‘Why so?’ He responded, ‘Because 
I know very well that my brothers will never agree with Gutenberg.’ 
Witness said, ‘Is not your partnership governed by a written agreement? Are 
there not evidences of the nature of your obligations?’ Andrew said, ‘ Yes. 
Everything has been done Eaoperly by writing.’ Witness then asked how the 
association had been formed. Dritzehen then told him how Andrew Heilmann, 
Hans Riffe, Gutenberg and himself, had formed a partnership, to which An- 
drew Heilmann and himself had brought 80 guilders, at least, so far as he recol- 
lected. When the partnership had been made, Andrew Heilmann and himself 
wentone day to the house of Gutenberg at Saint Arbogastus. When there. 
they discovered that Gutenberg had concealed many secrets which he had not 
obligated himself to teach to them. This did not please them. Thereupon they 
dissolved the old partnership, and formed a new one. [Here follows a repeti- 
tion, substantially, of the statement made by Gutenberg, concerning the in- 
debtedness of each partner. ]” 

The insolvency of Andrew Dritzchen is set forth in the testimony of the 
priest who attended him before his death. 

“Herr Peter Eckhart, curate of St. Martin, said [as a priest, he was not 
sworn], that the late Andrew Dritzehen sent for him during Christmas week 
that he might have his confession. When he came to his home, he found him 
ready to confess. He [the priest] asked him if there was debt due by him to 
any ee or if any person owed him, or if he had given or done anything 
which it was necessary that he should reveal. Then Andrew Dritzehen told 
him that he was in partnership with many persons, with Andrew Heilmann 
and others, and that he had ineurred an obligation in an enterprise to the 
amount of 200 or 300 guilders, and that, at that time, he was not worth a stiver.” 

Gutenberg’s need of money, and Dritzehen’s liability for money lent to the 
association, are proved by another witness. 

“Thomas Steinbach deposed that Hesse, the broker, once came to him, 
asking him if he knew where he could place some money, with little risk of 
loss. Witness had recommended him to John Gutenberg, Andrew Dritzehen 
and Anthony Heilmann, who needed money. Witness took up for them 14 
Iutzelbergers, but he really lost 126 guilders by the transaction. Fritz von 
Seckingen was their surety, and his name was inscribed [as endorser] on the 
books of the house of commerce [probably some kind of banking-house].” 

The most explicit evidence concerning this form of four pieces is given by 
Lorentz Beildick, the servant of Gutenberg. 

“Torentz Beildick testified that John Gutenberg, on a certain day, sent him 
to the house of Claus Dritzehen, after the death of Andrew, his brother, with 
this message—that he should not show to any person the press in his care. 
Witness did so. Gutenberg had instructed him minutely, and told him that 
Claus should go to the press and should turn two buttons, so_that the pieces 
would be detached one from the other ; that these pieces should be afterward 
placed in the press or on the press; that when this had been done, no one could 
comprehend its purpose. Gutenberg also requested Claus Dritzehen, if he 
should leave his house, that he should at once repair to his house [John Guten- 
berg’s], who had some things to tell him in person. This witness remembers 


JOHN GUTENBERG AT STRASBURG. 


perfectly that John Gutenberg was not indebted to the late Andrew, but that 
on the contrary, Andrew was indebted to John Gutenberg. Witness also 
testified that he had never been present at any of their meetings since Christ- 
mas last. Witness had often seen Andrew Dritzehen dining at the house of 
John Gutenberg, but he had never seen him give to Gutenberg as much as a 
stiver.” 

The bold manner in which Beildick denied the payment of money by Andrew 
Dritzehen seems to haye greatly exasperated George Dritzehen, who threatened 
him with a prosecution for false evidence, or perjury. There was a scene in 
the court. George Dritzehen cried out, sarcastically, ‘‘ Witness, tell the truth, 
even if it takes us both to the gallows.” Beildick complained to the judge of this 
intimidation, but it does not appear that the affair had further consequences. 

“Reimboldt, of Ehenheim, testified that he was at the house of Andrew 
before Christmas, and asked him what he intended to do with the nice things 
with which he was busy. Andrew told him that they had already cost him more 
than 500 guilders, but that he hoped, when the work was perfected, to make a 
great deal of money, with which he would pay witness, and would also receive 
a proper reward for his labor, Witness lent him 8 guilders, for he was then 
very needy. Witness’s wife had also lent money to Andrew. Andrew once 
came to her with aring, which he valued at 30 guilders, and which he had 

awned to the Jews at Ehenheim for 5 guilders. Witness further said that he 
iaew very well that Dritzehen had prepared two large barrels of sweet wine, 
of which he gave one-half omen to Gutenberg, and one-half omen to Mydehart. 
He had also given Gutenberg some pears. On a certain occasion Andrew had 
requested witness to buy for him two half-barrels of wine, and Dritzehen and 
Heilmann, jointly, had given one of these half-barrels to Gutenberg.” 

That the work on which Dritzehen was engaged was of a novel nature may 
be inferred from the fact that his visitors could not give names to his tools or 
his workmanship. They speak of it, that thing, the nice things, the form of four 


pieces, etc. Madame Zabern is surprised at the cost of that thing; Reimboldt 


svonders what he intends to do with these nice things. It is obvious that this 
mysterious work is not that of polishing stones or gems, nor the making of 
mirrors, for it cannot be supposed that these witnesses, and one of them a 
woman, would be ignorant of the purpose of a mirror, or would grossly under- 
rate the value of gems, or polished stones. But there is one witness who testi- 
fies that Dritzehen said his enterprise was that of making mirrors. 

“Fans Niger von Bischoviszheim testified that Andrew Dritzchen came to 
him and told him that he was in great need of money, for he was deep in an 
enterprise which taxed his resources to the utmost. Witness asked him what 
he was doing. Dritzehen then informed him that he was making mirrors. 
‘When witness threshed his grain, he took it to market at Molsheim and Ehen- 
heim, and sold it, and gave Dritzehen the money. This witness also corrobo- 
rated the testimony of Reimboldt as to the giving of wine to John Gutenberg. 
He took the wine in his own cart to Gutenberg, who was then at St. Arbogastus.’ 

It may be inferred from this testimony that Dritzehen was still deriving some 


‘profit from the old work of making mirrors. 


“Britz von Seckingen testified that Gutenberg had borrowed money of him, 
and that Anthony Heilmann was on his bond. Andrew Dritzehen, who should 
haye done so, evaded this obligation, and never signed the bond at all. Gut- 


“d1'I08 


‘aTTOS 


WITH 8 TO PICA LEADS. 


WITH 8 TO PICA LEADS. 


JOHN GUTENBERG AT STRASBURG. 


enberg paid up the entire sum at the time of the last fair during Mid- 
Lent.” 

Gutenberg’s partner gives some curious details about the partnership, and 
intimates that the forms were of metal. 

“ Anthony Heilmann testified that, when he learned that Gutenberg 
wished to take Andrew Dritzehen as a third [partner] in the company 
formed for the sale of mirrors at the fair of Aix-la-Chapelle, he begged him 
with importunity to take also his brother Andrew, if he wished to do a great 
favor to him, Anthony. But Gutenberg told him that he feared that the 
friends of Andrew would pretend that this business [or secret] was that 
of soreery, an imputation he wished to avoid. Heilmann persisted in his 
request, and finally obtained a document, which he was obliged to show to 
the two future partners, and about which they found it necessary to have a 
consultation. Gutenberg took the document to them, and they decided that 
they would comply with its terms, and in this way the affair [of partner- 
ship] was settled. In the midst of these negotiations, Andrew Dritzehen 
begged this witness [Anthony Heilmann] to lend him some money, and he 
then said that he would willingly oblige him, if he would give good security. 
And he lent Dritzehen 90 pounds, which Dritzehen took to Gutenberg, at 
Saint Arbogastus..... The witness asked him, ‘What do you wish to do 
with so much money? You do not need more than 80 guilders.’ Dritzehen 
replied that he had need for more money; that it was but two or three 
days before the [vigil of] Annunciation (March 25), on which day he was 
bound to give 80 guilders to Gutenberg. [Here follows an elaborate ex- 
planation of the financial standing and the rights of each partner.] After 
that, Gutenberg said to this witness that it was necessary that he should 
draw his attention to an essential point [in the agreement], which was, 
that all the partners were on a footing of equality, and that there should 
be a mutual understanding that each should conceal nothing from the 
others; and that this arrangement would be for the common benefit. The 
witness was content with this proposition, and communicated it with 
praises to the other two. Some time after this, Gutenberg repeated his 
words, and the witness responded with the same protestations as before, 
and said that he intended to be worthy of the trust. After this, Gutenberg 
drew up an agreement as the expression of this proposition, and said to 
this witness: ‘Consult well among yourselves, and see that you are agreed 
on this matter.’ They did so consult, and they discussed for a long time 
on this point, and even sought the advice of Gutenberg, who, on one 
occasion, said: ‘There are here now many things ready for use, and there 
are many more in progress ; the goods you acquire are almost equal to your 


JoHN GUTENBERG AT STRASBURG. 


investment in money. In addition to all this, you get the knowledge of the 
secret art.’ So they soon came to an agreement, and it was decided that 
the heirs of the deceased partner should have for that partner's investment, 
for the forms, and for all the materials, 100 guilders; but they should have 
it only after the five years. Gutenberg said that this provision would be 
of great advantage to them, for, if he chanced to die, he would abandon 
to them everything to which he was entitled, as his share of the property; 
and yet they would be obliged to give to his heirs only the 100 guilders, 
as they proposed to do with each other. It was also decided that in case 
of the death of any one of the partners, the others should not in any wise 
be obliged to teach, to show, or to reveal the secret to his heirs. It was a 
provision as favorable to one as to another.... This witness also testified 
that Gutenberg, a little while before Christmas, sent his servant to the two 
Andrews, to fetch all the forms. These forms were melted before his eyes, 
which he regretted on account of several forms. When Andrew Dritzehen 
died, there were people who would have willingly examined the press. He 
told Gutenberg to send and prevent it from bemg examined. Gutenberg, 
in effect, did send his servant to put i in disorder, and to tell the witness 
that, when he had time, he wished to talk with him.” 

The testimony of the last witness is the shortest, and it is remarkable ss 
the only testimony which defines the work. 

“Hans Diinne, the goldsmith, testified to this effect: within the past two 
or three years he had received from John Gutenberg about 100 guilders, 
which sum had been paid to him exclusively for work connected with 
printing.” 

The testimony of eighteen other witnesses was taken,! but according to 
Schoepflin, Diinne’s is the last testimony on the official record. The judge 
gave the following decision: 

“Wu, master and counselor, after having heard the complaint and answer 
of the parties, the depositions and the testimony....and after having ex- 
amined the contract and the agreement....Considering that there is a contract 
which fully establishes the manner in which these arrangements were pro- 
jected and carried out: We do command that Hans Riffe, Andrew Heilmann 


1 The eighteen witnesses were Master Hirtz, Heinrich Olse, Hans Riffe and Johan Drit- 
Jacob Imerle, Midhart Honéwe, Heinrich zehen, Their testimony is not on the record, 
Bisinger, Wilhelm von Schutter, the wife of It is unfortunate that we have lost the testi- 
Lorentz Beildick, M. Jerge Saltzmitter, Stés- mony of M. Gosse Sturm, of Saint Arbo; 8, 
ser Nese von Bhenheim, Martin Verwer, and , the goldsmith. It is probable that 
Heinrich Seidenneger, M. Gosse Sturm, of St. these men, who had intimate relations with 
Arbogastus, Hans Ross, the goldsmith, andhis Gutenberg, could have described this secret 
wife, Andrew Heilmann, Claus Heilmann, art with greater clearness. 


GEORGE BRUCE’S SON & CO., Typre-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


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Nonparein, No. 


14. 


JOHN GUTENBERG AT STRASBURG. 


and Hans Gutenberg shall make an 
oath before God that the matters that 
have transpired are warranted by the 
contract that has been cited; and that 
this contract had but one supplement- 
ary agreement, under seal, which would 
have been agreed to by Andrew Drit- 
zehen if now living; and that Hans 
Gutenberg shall also take oath that the 
85 guilders have not been paid to him 
by Andrew Dritzehen; and from this 
time this amount of 85 guilders shall be 
deducted from the sum of 100 guilders, 
about which there has been contro- 
versy ; and he [Gutenberg] shall pay to 
George and Claus Dritzehen 15 guild- 
ers; and, in this manner, the 100 guild- 
ers will be paid in conformity to the 
contract that has been cited. 

“The oath, according to this form, 
has been taken before us by Hans Riffe, 
Andrew Heilmann and Hans Guten- 
berg, with this qualification on the part 
of Hans Riffe, that he was not present 
at the first meeting [of the partners] ; 
but that, as soon as he did meet with 
them, he had approved of their action 
or agreement.” 

The taking of this oath, and the pay- 
ment of the fifteen guilders by John 
Gutenberg, terminated the suit in his 
fayor. 

The record is enough to give us a 
clear idea of the character and position, 
if not of the process, of John Guten- 
berg. At this time, December, 1439, 
and for some time previous, Gutenberg 
was neither in poverty nor in obscurity. 
He had already acquired a local repu- 
tation for scientific knowledge. He did 
not seek for partners or pupils; they 
came to him. Among the number we 
find Hans Riffe, the mayor of Lichte- 
nau, whose confidence in Gutenberg, 
after three years of partnership, is im- 
plied in his testimony. Anthony Heil- 
mann, the lender of money, seems to 
have been equally satisfied with his 
brother partner. The action of the 


JOHN GUTENBERG AT STRASBURG. 


secret, as may be inferred from the old 
phrase “art and mystery,” still retain- 
ed in indentures of apprenticeship in 
all countries. One of the consequences 
of this exclusiveness was that many 
mechanical arts were invested with un- 
usual dignity.1 The sharply defined 
line which, in our day, separates art 
from trade and mechanics did not then 
exist. 

The testimony shows that Gutenberg 
had a knowledge of three distinct arts. 
The one earliest practised, from which 
Dritzehen derived a good profit, was 
the polishing of stones or gems. The 
second was that of making mirrors. 
Gutenberg was not the inventor of this 
art, but he was one of the first to prac- 
tise it. Glass mirrors, almost unknown 
in the fourteenth century, were regard- 
ed as novelties in the fifteenth. It 
seems that they were first made in Ger- 
many. Winaricky lays great stress on 
the fact that the Bohemians were the 
earliest and the most skillful workers 


1After the development of the towns, all 
members of the nobility did not seek their oc- 
cupation exclusively in deeds of knighthood. 
Industry, art, and the refinemeut of town life 
gradually superseded the warlike spirit of the 
nobility, to whom the town offered distinguish- 
ed dignities and situations, while enterprises 
of commerce and industry gave them distinc- 
tion and riches. The privilege of coining 
money, especially, was often farmed out to an 
association of ancient families. At Mentz this 
association consisted of twelve families (Mtin- 
zer-Hausgenossen ), among whom was also the 
family of Gensfleisch. They possessed, more- 
over, the privileges of the valuation of coin, of 
the assize of weights and measures, or offices 
for the exchange of money and of the sale of 
gold and silver staves to the mint. Such em- 
ployment brought them chiefly in connection 
with the goldsmiths, whose work consisted, at 
that time, of one of the most considerable 
trades, which comprised mechanics and chem- 
istry, nay, the whole dominion of plastic and 
graphic art, in its application to metals, whe- 
ther separate or in conjunction with diarnonds 
and other precious materials. They were 
mostly patricians who established powder- 
mills, paper-mills and similar new manufac- 
tories. Van der Linde, Haarlem Legend, p. 17. 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CuamBers-StrEET, NEW-YORK. 


judge, in accepting Gutenberg’s oath 
as conclusive, proves that he was a 
man of established character. The def- 
erence paid to him by all the witness- 
es shows that he was not merely a me- 
chanic or an inventor, but a man of 
activity and energy, a born leader, 
with a presence and a power of per- 
suasion that enabled him to secure 
ready assistance in the execution of his 
plans. His reputation had been made 
by success. George Dritzehen said 
that his brother had received a good 
profit from his connection with Guten- 
berg. The eagerness and the faith of 
Andrew, the pertinacity with which 
his brothers pressed their claim to be 
admitted as partners, the solicitation 
of Heilmann on behalf of his brother, 
are indications that the men were san- 
guine as to the success of Gutenberg’s 
new invention. The expected profit 
was attractive, but it was not the only 
advantage. 

In that century it was not an easy 
matter to learn an art or a trade of 
value; no one could enter the ranks 
of mechanics eyen as a pupil, without 
the payment of a premium in money ; 
no one could practise any trade un- 
less he had served a long period of ap- 
prenticeship. These ex- 
actions hopelessly shut 
out many who wished 
to learn; but men who 
had complied with all 
the conditions were oft- 
en unwilling to teach, 
or to allow others to 
practise. Many trades 
were monopolies. In 
some cases they were 
protected by legislative 
enactments, like that 
accorded to the Vene- 
tian makers of playing 
cards. So far as it could 
be done, every detail of 
mechanics was kept 


in glass, and that they 
also excelled as lapida- 
ries and metallurgists. 
He says, but without 
proof, that the art of 
polishing stones and 
making mirrors was ac- 
quired by Gutenberg in 
Bohemia, The learned 
Beckmann says that 

“Early German mir- 
rors were made by pour- 
ing melted lead or tin 
over a glass plate while 
yet hot as it came from 
the furnace. In and 
around Nuremberg convex mirrors 
were made by blowing with the pipe 
in the glass bubble while it was still 
hot a metallic mixture with alittle salts 
of tartar. When the bubble had been 
covered and cool, it was cut in small 
round mirrors. These small conyex 
mirrors were called ochsenaugen, or 
Ox-eyes. ted were set in a round 
board, and had a very broad border or 
margin. One of them in my possession 
is two and a half inches in diameter... 
This art is an old German invention, 
for it is described by Porta and Gan- 
zoni, who both lived in the beginning 
of the sixteenth century, and who both 
expressly say that the art was then 
common in Germany. Curious foreign- 
ers often attempted to learn it, and ima- 
gined that Germans kept it a secret.” 

The early German mirrors were 
small, but they had broad frames, and 
were richly gilt and adorned with car- 
ved or moulded work in high relief. 
Ottley thinks that the press was used 
for pressing mouldings for the frames 
of mirrors, and that the lead was used 
for the metallic face. 

The third art is imperfectly deserib- 
ed. If Diinne’s testimony had been lost, 
it would not appear that this art was 
panei, for there is no mention of 

ooks, paper, ink, types, or wood-cuts. 


“dTTOS 


‘dITOs 


! 


A Medieval Press. 


[From Duverger.] 


WITH 7 TO PICA LEADS. 


WITH 7 TO PICA LEADS. 


JOHN GUTENBERG AT STRASBURG. 


The lead, the press, and the goldsmith’s 
work on things relating to printing, 
could be regarded as materials requir- 
ed in the art of mirror-making. But 
“the thing,” and ‘“‘the nice things,” 
which provoked exclamations of sur- 
prise at their great cost, could not haye 
been looking-glasses. 

Diinne said, very plainly, that this 
art was printing; but Diinne’s testi- 
mony could be set aside, and Guten- 
berg’s connection with typography at 
the period of this trial could be inferred 
from other evidence. The thorough- 
ness of the workmanship in the books 
printed by Gutenberg after 1450 is a 
thoroughness which could haye been 
acquired only by practice. Before he 
began this practice he must have de- 
voted much time to experiment and to 
the making of the tools he needed. No 
inventor, no printer can believe that 
the skill he subsequently showed as a 
printer could have been attained by the 
labor of afew months or 
years. If it is also con- 
sidered that Guten- 
berg was poor, and that 
he collected the money 
he needed with great 
delay and difficulty, the 
doubt may assume the 
form of denial. It is a 
marvel that he was so 
well prepared at the end 
of the ten years which 
Zell says were given up 
to investigation. 


that it was a develop- 
ment of it, an extension, 
a fortunate application, 
the highest step of the 
ladder, consisting of 
playing cards, images 
of saints, pictures with 
super, sub and other 
seriptions, texts with- 
out pictures. In short, 
in a technical, logical 
and reformatorical 
sense, xylography would be the mo- 
ther of typography. But it is such 
only in the sense of an external im- 
pulse, of an external push to medita- 
ting on quite another means than 
wood or metal engraving, or another 
mode of obtaining books. Zell finds 
that push in the block-Donatuses, but 
the inspiration of genius, the first in- 
vention of a quite independent art, of 
a totally new principle, which has 
nothing in common with wood and 
metal engraving, he ascribes....to 
Gutenberg. In Gutenberg’s mind, the 
grand idea arose that all words, all 
writing, all language, all human 
thoughts, could be expressed by asmall 
number, a score of different letters, 
arranged according to the require- 
ments; that, with a large quantity of 
those different letters, united as one 
whole, a whole page of text could be 
printed at once, and, repeating this 
process continually, large manuscripts 
could be swiftly multiplied...... This 
thought, this idea, begot the invention 


It would be gratifying to know the 
form in which the idea of typography 
first presented itself to Gutenberg; 
put there is in this case, no story like 
that of Franklin and the kite, or of 
Newton and the apple. Zell, in the 
Cologne Chronicle, says that the first 
prefiguration of Gutenberg’s method 
was found in the Donatuses published 
in Holland before 1440. That the xylo- 
graphic Donatus, the only block-book 
without cuts, was the forerunner of all 
typographic books, may not be denied. 
That some stray copy of a now lost 
edition of the book may have suggested 
to Gutenberg the superior utility of 
typography is possible, but the sugges- 
tion was that of the feasibility of a 
grander result by an entirely different 
process. For, although typography took 
its beginnings in an earlier practice of 
xylography, it was not the outgrowth of 
that practice. It took up the art of 
printing at a point where xylography 
had failed, and developed it by new 
ideas and new methods. Typography 
was an invention pure and simple. In 
the theory and practice of block-print- 
ing, there was nothing that could have 
been improved until it reached the dis- 
covery of the only proper method of 
making types. 

“The most common prejudice is the 
supposition, @ priori, legitimated strict- 
ly scientifically by nothing, that print- 
ing with movable types was only an 
improvement on that with wooden - 
blocks on which the letters were cut; 


JOHN GUTENBERG AT STRASBURG. 


of typography. Every other explana- 
tion is at once unhistorical and unpsy- 
chological.” Haarlem Legend, p. 11. 

It may have been from his experience 
in the melting and pouring of lead, in 
the engraving of designs for the frames 
of his mirrors, in the use of a press for 
the moulding of the designs for these 
frames, that Gutenberg derived his first 
practical ideas of the true method of 
making types. Whatever the external 
impulse which led Gutenberg to print- 
ing, it was so strong that it compelled 
him to abandon the practice of all other 
arts. After this trial we hear no more 
of him as a maker of mirrors, or a pol- 
isher of gems. 

The record of the trial before Cune 
Nope is not the only evidence we have 
that Gutenberg’s unknown art was that 
of typography. Wimpheling, one of 
the most learned men of his age, and 
nearly contemporary with Gutenberg, 
gives the following testimony concern- 
ing early printing in Strasburg. 

“Tn the year of our Lord, 1440, un- 
der the reign of Frederic 11, Emperor 
of the Romans, John Gutenberg, of 
Strasburg, discovered a new method of 
writing, which is a great good, and 
almost a divine benefit to the world. 
He was the first in the city of Strasburg 
who invented that art of impressing 
which the Latin peoples call printing. 
He afterward went to Mentz, and hap- 
pily perfected his invention.” 


1 Wolfe’s Monumenta Typographica, vol. 1, 
page 586. 


Nonparein, No. 


14. 


JOHN GUTENBERG AT STRASBURG. 


_ Inanother book, in which Wimphel- 
ing fae compliment to the intelligence 
of the people of Strasburg, he writes: 

“Your city is acknowledged to excel 
most other cities by its origination of 
the art of printing, which was after- 
ward perfected in Mentz.” 

The Chronicle of Cologne* is as ex- 
plicit as to date, but not as to place. It 
specifies 1440 as the date of the dis- 
covery of printing ‘‘in the manner that 
is now generally used.” 

The evidence of the witnesses on the 
trial agrees with the testimony afford- 
ed by the chronicles: it is plain that 
Gutenberg had not perfected his inven- 
tion in 1439. From his lonely room in 
the ruined monastery of Saint Arbo- 
gastus, to which he retreated for the 
sake of secrecy, Gutenberg gave work 
to Diinne, the goldsmith, to Saspach, 
the joiner, and to Dritzehen, his old 
workman. It would seem that they 
were not producing work for sale, but 
were making tools which required a 
great deal of labor. Dritzehen worked 
night and day, Madame Schultheiss 
helping him. Af the death of Drit- 
zehen, the work expended on the art 
had cost a great deal of money, but it 
was still incomplete. The testimony 
shows that it had been intended that 
the salable work to be produced by the 
partnership should be exposed for sale 
at the great fair of Aix-la-Chapelle in 
the summer of 1439. The postpone- 
ment of this fair to the year 1440 was 
a grave disappointment. If the object 
of the partnership was the making of 
poptler books of devotion, we can un- 

erstand the reasonableness of the 
hopes of great profit when the books 
should he laid before the pious pilgrims. 

1See page 107 of this book. The chronicler 
isin error in specifying Mentz as the place 
where the art was discovered, but the specifi- 
cation of the period between 1440 and 1450 as 
that in which “the art was being investiga- 
ted” by John Gutenberg is sustained by other 
testimonies. 


The sudden death of Andrew Dritze- 
hen was the occasion of more delay. 
Gutenberg, fearing that the public, or 
George Dritzehen, would get posses- 
sion of the secret, melted the forms and 
suspended the work. Then followed a 
litigation which lasted nearly one year, 
during which period it seems no work 
was done.! 

There are many conflicting opinions 
about the character of the printing so 
obscurely mentioned in the testimony 
of the witnesses. Schoepflin says it 
was block-printing. Tn the four pieces 
lying in the press, he sees four pages of 
engraved blocks; in the two buttons, 
which Dr. Van der Linde says are im- 
properly translated by him as two 
screws, he finds a serew chase that 
held the four pages together. This 
conjecture is in every way improbable. 

1 The pilgrimage to ancient Aix-la-Chapelle 
took place every seventh year, and, commenc- 
ing on the 10th of July, lasted fourteen days, 
during which time the ordinary service in the 
church did not take place, but a free market 
was held. The concourse of people was un- 
commonly great on that occasion, so that, for 
instance in the year 1496, 142,000 pilgrims were 
counted in the town, and 80,000 uilders in 
the offering boxes on one day. Aix- a-Chapelle 
possessed relics of the first rank, as the swad- 
dling clothes of Christ, his body-cloth at the 
Crucifixion, the dress worn by Mary at his 
birth, and the cloth on which St. John the 
Baptist was beheaded. Van der Linde, Haar- 
lem Legend, p. 18. 


“d1ITOS 


WITH 8 TO PICA LEADS. 


125 


JOHN GUTENBERG AT STRASBURG. 


never be satisfied by the method of 
xylography, which gave him the im- 
pulse to seek for a more scientific me- 
thod. Block-printing, although in no 
sense the mother of typography, was 
its forerunner, and for that reason alone 
demands respectful consideration. 

There is no plausibility in the theory 
of Fischer, that the thing of four pieces 
was a form of four pages or columns of 
types of wood. Nor is there any evi- 
dence that Gutenberg had then done 
any practical work. The practice of 
printing in Dritzehen’s house cannot 
be inferred from the presence of a press, 
for there is no notice of paper, printed 
sheets or books. It does not seem that 
there was a mystery about the press. 
Tt was not the press, but what was in 
it, concerning which the people were 
curious. It was the imperfectly de- 
scribed implement of four pieces which 
gave the partners anxiety. 

Nor was the tool of four pieces the 
only object of value. Gutenberg as- 
sured the partners that the things had 
cost him nearly as much as he asked 


Fac-simile of the Type-mould of Claude Garamond. 


a, The place where the body of the type was cast. 6. c. The mouth-piece in which the fluid metal was poured. 


d The type as cast, with 


JouHN GUTENBERG AT STRASBURG. 


All the processes of block-printing 
should have been as well-known at that 
time in Strasburg as they were in Ven- 
ice, Augsburg and Nuremberg. Some- 
thing more novel than this form of 
printing would have been required to 
secure the codperation of shrewd men 
like Riffe. and Heilmann. The enthu- 
siasm of Dritzehen, and the eagerness 
of all parties to learn the new art, and 
to have a share in its profits, cannot 
be satisfactorily explained by the con- 
jecture that this art was simple block- 
printing. 

There is no evidence that Gutenberg 
had been taught xylography, or any of 
the branches of book-making. He was 
not, for that reason, incompetent to in- 
vent an entirely new branch. The his- 
tory of great inventions shows that 
many inyentors never received a thor- 
ough technical instruction in the arts 
or trades which they undertook to re- 
construct. Jacquard, inventor of the 
automatic loom, was, in his boyhood, a 
pookbinder and a type-founder. Ark- 
wright, inventor of the spinning jenny, 
was a barber until he was thirty years 
of age. Stephenson, inventor of the 
locomotive, tended a steam boiler, but 
had not served time as a machinist nor 
asacarriage-builder. Fulton, inventor 
of the steamboat, was not a sailor, ma- 
chinist nor ship-builder. Morse, in- 
yentor of the electric telegraph, was an 
artist, not an mechanieian, nor even a 
man of science. Koning, inventor of 
the cylinder printing machine, was not 
aprinter. The greatest inventions have 
been made by men not within but with- 
out the arts they improved. It would 
seem that a thorough technical educa- 
tion in any art or trade cramps the in- 
yentive faculties, disqualifying the ex- 
pert from making any attempt at radi- 
cal changes, permitting him to attempt 
improvement in the details only. | 

utenberg may have begun his ex- 
periments in typography by the use of 


GEORGE BRUCE’S SON & CO., 


engraved types or punches of wood; 
but he must have soon discovered the 
defects and limitations of xylo raphy 
and have reached the unalterable con- 
clusion that useful types could be made 
of metal only. ; 

Some authors will not admit that 
Gutenberg derived any benefit from 
xylography. Bernard treats block- 

rinting as an art so paltry that he re- 
fused to describe the block-books, or to 
admit that xylography had any notice- 
able influence, direct or indirect, on the 
invention of types. Wan der Linde 
says that history knows nothing of 
Gutenberg as @ xylographer—that 
there is no documentary evidence that 
he ever eut or printed a block. These 
disclaimers—obviously provoked by 
the absurd statements of other authors 
that Cates inyented xylography, 
that he printed with types of wood, 
that typography is the natural out- 
growth of xylography — cannot be ac- 
cepted without qualification. The fact 
remains that Gutenberg, his associates 
and pupils, were benefited by the high- 
est technical skill of that time 1m all 
the processes of engraving in relief, in 
the compounding of inks, in the con- 
struction and use of presses, and in the 
manipulation of paper. Compared with 
the invention of the type-mould, these 
may seem trivial matters, put the suc- 
cess of Gutenberg’s new ideas about 
printing depended upon his attention 
to every process that promised aid. It 
is not probable that the man who hired 
‘oiners and goldsmiths could have neg- 
ected to avail himself of whatever 
skill the block-printers possessed. The 
experience in printing acquired by the 
block-printers was far from contempt- 
ible, but the educating influences they 
had exerted oyer the book-buyin, pub- 
lic were of great importance. It was 
Gutenberg’s discernment, of the fact 
that the block-printers had ereated a 
demand for printed work which could 


“aI'TOS 


{From Duverger.] 


WITH 8 TO PICA LEADS. 


the metal formed in the mouth-piece adhering to it. 


of them for their shares in the enter- 
prise, but more were to be made. In 
the event of the death of a partner, his 
heirs were to be paid their claim on the 
forms and tools. When Dritzehen died, 
Gutenberg sent for all the forms, which 
were melted before his eyes, which act 
he subsequently regretted on account 
of the forms. It was a rash act, but 
Gutenberg’s fears were aroused, and 
he preferred to destroy the tools rather 
than allow George Dritzehen to get a 
knowledge of his secret. 

This passage has been translated by 
Ottley: Gutenberg sent “to fetch all 
the forms that they might be loosened, 
and that he might see it [done], and 
that the joinings of some of the four 
pieces might be renewed.” ‘This trans- 
lation makes the action of Gutenberg 
unintelligible. Bernard’s translation 
is: “ Gutenberg sent to get the forms, 
so that he could be sure that they had 
been separated; these forms had given 
him a great deal of solicitude.” This 
is obviously a very free and evasive 
translation. Wetter, who interprets 
the passage as descriptive of block- 
printing, says that “the words are too 
obscure for us to infer anything definite 
from them. We are in no case to un- 
derstand by the word formen separate 
letters, but whole blocks.” This is an 
unwarrantable assumption, and in con- 
tradiction to the statement that the 
forms were melted. Van der Linde 
says that ‘the words are plain. Trans- 
lators have stopped at the words zur- 
lossen and ruwete. Zurlossen, or zerlas- 


JOHN GUTENBERG AT STRASBURG. 


sen, means melting, and ruwete is dia- 
lect for rewete, repented.” 

In the practice of printing, the word 
form means a collection of composed 
types, arranged in readable order, se- 
cured together as one piece in an iron 
band or chase, and prepared to receive 
impression. Inall printing-officesit has 
thismeaning. The commonest meaning 
of the word form, in most European 
languages, is a shape or figure prepared 
by carving; but it has also been ap- 
plied, colloquially, to the mould made 
from this carved shape, and also to the 
article made from the mould. A type- 
founder's punch is the form of a letter ; 
the mould in which the type is cast is 
the form or former of the letter; the 
types prepared for printing are also 
known as the form. On a future page 
it will be shown that the word formen 
as used in the trial, was also used at a 
later date to describe the most impor- 
tant tools in Gutenberg’s printing office 
at Eltvill. That the forms so frequently 
mentioned in this record of the trial 
were of metal is clearly implied in the 
statement that Gutenberg melted them. 
These forms, or formens, were, without 
doubt, implements connected with 
typography; but whether they were 
types, or matrices, or moulds, or a col- 
lection of types, is not so clear. Tf they 
were types, it will seem strange that 
they were not accurately described as 
letters of metal by some of the witness- 
es who saw them. If we regard them 
as matrices, they may have been “the 
nice things” alluded to by Reimbolt, 


ee ee oS ee ee 


the use of which he did not understand. 
Here we may recall the surprise of 
Madame Zabern at the cost of the 
work. She would not have hazarded 
the low estimate of ten guilders, if 
Dritzehen had been surrounded by 
many types or printed sheets. The 
only tools appertaining to typography 
which have a value out of all propor- 
tion to their apparent cost are the 
punches, matrices and moulds. The 
modern inexpert would underrate the 
value of a similar collection as grossly 
as did Madame Zabern. It is possible 
that Dritzehen was making matrices 
and fitting them to the mould. If the 
forms were matrices, they and the 
punches could have cost five hundred 
guilders. 

Tf the “nice things” were matrices, 
there must have been a type-mould, and 
it was this mould which was the key 
to the invention. The mould was the 
only implement connected with typog- 
raphy which would at once lay open 
to an intelligent observer the secret of 
making types. Of all his tools, this was 
the one that had received the greatest 
amount of care and labor, and it should 
have been the one that Gutenberg 
would be anxious to conceal. It may 
be supposed that the thing of four 
pieces that was opened by two buttons 
was the mould. Why it should have 
been kept in or under the press cannot 
be explained. But if Dritzehen was 
fitting up matrices, it was proper that 
he should have the mould at hand. The 
conjecture that the thing of four pieces 


‘TypE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


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Spa tes 


126 


NonpParein, No. 15. 


JOHN GUTENBERG AT STRASBURG. 


was a type-mould, is not free from difficulties, but it seems the only one that makes 
intelligible the action of the witnesses. It could not have been four pages of metal 
types, for types disconnected and put in disorder, in or under the press, would have 
betrayed the secret almost as plainly as if they had been in order. Nor could it 
have been any attachment to a press like the frisket or tympan. It is impossible 
to name any jointed or buttoned tool of four pieces, connected with composition or 
presswork, which would suggest to an inexpert the secret of typography. 

The gravest difficulty in the way of this conjecture is, that the type-mould of 
modern type-founders has, including the matrix, but three detachable pieces. As 
this mould is substantially of the same form as that known to have been used by 
Claude Garamond, the eminent type-founder of Paris, in 1540, it has been sup- 
posed, and properly, that this mould of three pieces must have been used before 
Garamond, by all the early printers. But it was not the only form of mould. At 
the beginning of this century, every type-founder found it expedient to use ati 
times, a type-mould somewhat different in its construction—a mowld which, with 
the matrix, consisted of four detachable pieces. The merit of this mould was its 
adaptability, within limits, to any size of body. Its disadvantages were its difficulty 
of nice adjustment and its liability to inaceuracy—faults which have obliged all 
American type-founders of this day to discontinue its use entirely. It is, without 
doubt, a very old form of mould, but it was never a popular one, having been used 
chiefly for casting bodies of irregular size, Mr. Bruce has showed me one of these 
early moulds—a mould long out of use, preserved only as one of the earlier relics 
of his old type-foundry. Its construction is too complex for description by words, 
or even by engraving; but it may be sufficient to say that, with the matrix, it con- 
sisted of four pieces, and was so constructed as to allow of an enlargement and nice 
adjustment in either direction of the space provided for casting the body of the 
type. The pieces were held together by stiff springs, but buttons could have been 


‘Sava VOId OL 4 HLIM 


SOLID. 


JOHN GUTENBERG AT STRASBURG. 


that Strasburg was the cradle of printing. Schaab interrupted him, “ Yes, but 
it is a cradle without a baby.” 

Tt may be that the failure of the Strasburg associates was due solely to the auda- 
city of Gutenberg, whose plans were always beyond his pecuniary ability. Even 
then he may have purposed the printing of the great Bible of 36 lines in three 
volumes, which he afterward completed in an admirable manner. In trying to 
accomplish much, he may haye failed to do anything of value. Whatever the 
reason, it is certain that his partners abandoned Gutenberg and his invention. 
‘We read no more of Riffe and Heilmann in connection with typography. 

There is evidence that Gutenberg was financially embarrassed after the trial. 
On the second day of January, 1441, Gutenberg and the knight Luthold von Ram- 
stein gaye security for the annual payment of five pounds to the Chapter of St. 
Thomas at Strasburg, in consideration of the present sum of one hundred pounds 
paid by the chapter to Gutenberg. On the fifteenth day of December, 1442, John 
Gutenberg and Martin Brether sold to the same corporation for the present sum- 
of eighty pounds, an annual income of four pounds, from the revenues of the town 
of Mentz. Gutenberg had inherited this income from his uncle, Johan Lehheimer, 
secular judge of that city. The tax-book of the city shows that he was in arrear 
for taxes between the years 1436 and 1440. Ina the tax-book for 1448, it is plainly 
recorded that Gutenberg’s tax was paid by the Ennel Gutenbergen who is supposed 
to have been his wife. Gutenberg had reason to be disheartened. He had 
spent all his money; had alienated his partners; had apparently wasted a 
great deal of time im fruitless experiments ; had damaged his reputation as a 
man of business, and seemed further from success than when’ he had revealed 
his plans to his partners. 

Tt is the common belief that Gutenberg went direct from Strasburg to Mentz. 
Winaricky, on the contrary, says that he forsook Strasburg for the University 
of Prague, at which institution he took the degree of bachelor of arts in 1445, 
and in which city he resided, until it was besieged, and he was obliged to 
leave, in 1448. here is no trustworthy authority for either statement. The 
period in his life between 1442 and 1448 is blank, but it is not probable that 
he was idle. 


milena tulede etplrartulenmus tulenitis tule 25re 


tito plopnted aun 


eraliftorn tuliffes tuliffer erplr at mliffe 


ius tuliffetis tuliffent future af tilero mlens talent 
etplé aun trlenmus tulertia mlenttt Jinfio ma fine 
niiss plots pe pntis titeipin. - ferredtitonioot 


Fac-simile of the Types of a Donatus attributed to Gutenberg at Strasburg. 


JOHN GUTENBERG AT STRASBURG. 


used for the same purpose. When these pieces were connected it would be plain 
to any mechanic that it was a mould; disconnected, its purpose would be a riddle. 
This peculiarity, coupled with the well-known fact that Gutenberg subsequently 
made at Mentz, three fonts of types on bodies of different size, but closely approx- 
imating each other, lead me to the belief that this tool of four pieces should have 
been some kind of an adjustable type-mould. 

Bernard gives this form of type-mould a passing notice. He says: 

“™M. de Berny showed me one of these primitive mechanisms in his own foundry. 
This mould, which is still [1853] in use, is constructed with two kinds of knees [or 
squares] enabling the type-maker to adjust it in various ways so as to cast any 
body desired. De Vorigine, ete. vol. I. p. 44, note. 

The only book which can be offered with plausibility as the work of Gutenberg 
in Strasburg is a Donatus, of which four leaves are now preserved in the National 
Library at Paris. This Donatus is a small quarto, containing twenty-seven lines 
to the page. The similarity of the types of this book, both in face and body, to 
those of the Bible of 42 lines, suggests the thought that both books were the work 
of the same printer; but the cut of the letters, the founding of the types and the 
printing of the book are vastly inferior. 

It is possible that Gutenberg may have printed some books at Strasburg, but we 
do not know anything about them. There were many difficulties connected with 
the proper development of typography, and he may have labored over them many 
years without any satisfactory result. His earlier experience could not have been 
materially different from that of other inventors: he may have been kept for years 
on the threshold of success, vainly trying to remove some obstruction which blocked 
up his way. If we suppose that Gutenberg began, as a novice would probably 
begin, by founding types of soft lead in moulds of sand, the printer will understand 
why he would condemn the types made by this method. If he afterward made a 
mould of hard metal, and founded types in matrices of brass, we can understand 
that, in the beginning, he had abundant reason to reject his first types for inac- 
euracies of body and irregularities of height and lining. To him as to all true 
inventors, there could be no patching of defects in plan or in construction. It 
was necessary to throw away all the defective work and to begin anew. Experi- 
ments like these consume a great deal of time and quite as much of money. The 
testimony shows that the money contributed by some of the partners in the asso- 
ciation had been collected with difficulty. We may suppose that when this had 
been spent to no purpose, they were unable or unwilling to contribute any more. 

The inability to produce any book printed by Gutenberg at Strasburg was the 
occasion of the following pithy answer: Koch had asserted before the Institute, 


GEORGE BRUCE’S SON & CO., TypE-FouNDERs, No. 13 CHampers-STREET, NEW-YORK. 


SaVaT VOId OL 4 HILIM 


{From Bernard. ] 


SOLID. 


XXI 
GUTENBERG AND HIS EARLIER WORK AT MENTZ. 


Gutenberg appears in Mentz as a Borrower of Money... Was then Ready to Begin as a 
Printer... Donatus of 1451... Letters of Indulgence of 1454 and 1455... Made from Founded 
Types... Circumstances attending their Sale... Fac-simile of Holbein’s Satire... Fac-simile 
of the Letter dated 1454, with a Translation... Almanac of 1455,..Gutenberg’s two Bibles. 
Dates of Publication Uncertain... Bible of 36 lines, with Fac-simile... Evidences of Prob- 
able Priority... Apparently an Unsuccessful Book... John Fust, with Portrait... Pust’s 
Contract with Gutenberg in 1450... Probable Beginning of the Bible of 42 lines... Descrip- 
tion of Book, with Fac-simile... Colophon of the Illuminator... Must have been Printed 
before 1456... Fust brings Suit against Gutenberg... Official Record of the Trial... Guten- 
berg’s Inability to pay his debt... Suit was a Surprise.... Portrait of Gutenberg... Pust 
deposes Gutenberg and installs Schoeffer at the head of the Office. 


There is material in this event for an affecting drama: a genial inventor, indefatigably occu- 
ied in realizing an idea, an usurious and crafty money-lender, abusing the financial care- 
essness of a genius, to get him more and more into his power; a clever servant courting 

the daughter of the usurer, and conspiring with him against the great master; the inventor 
robbed of all the fruit of his exertions during many years, at the moment that it was ripe to 
be gathered. Van der Linde, 


GUTENBERG’s last act upon record in Strasburg was the selling out of the last 
remnant of his inheritance. The first evidence we have of his return to Mentz 
is an entry, on the sixth day of October, 1448, in a record of legal contracts, 
in which he appears as a borrower of money. It seems that Gutenberg had 
persuaded his kinsman, Arnold Gelthus, to borrow from Rynhard Brémser and 
John Rodenstein, the sum of 150 guilders, for the use of which Gutenberg 
promised to pay the yearly interest of 81% guilders. Gutenberg had no securities 
to offer; Gelthus had to pledge the rents of some houses for this purpose. How 
this money was to be used is not stated, but it may be presumed that Gutenberg 
needed it for the development of his grand invention. His plans, whatever they 
were, met with the approbation of his uncle John Gensfleisch, by whose per- 
mission he occupied the leased house Zwm Jungen, which he used not only 
for a dwelling, but as a printing office. 

Schaab says that there is on record in Mentz a document which proves that 
John Gensfleisch leased this house in October, 1448. Reasoning from the two 
disconnected facts, that this house was used by Gutenberg for a printing 
office, and that it had been leased by Gensfleisch in 1443, careless readers 
have assumed that John Gensfleisch was the first printer in Mentz, and that 
he was either the true inventor of printing, or the unfaithful workman who 
stole the invention of Coster or of Mentel. It is not necessary to repeat what 
has been written concerning the impossibility of a theft from the fictitious Coster, 
nor about the absurdity of representing the uncle as a printer. 


NonpaREIL, No. 


15. 


127 


JOHN GUTENBERG AT MENTZ. 


At this time Gutenberg was, no doubt, nearly perfect in his knowledge of the 
correct theory of type-founding, and had also acquired fair practice as a printer. 
Helbig thinks that he had ready the types of the Bible of 36 lines. Madden says 
that he was then, or very soon after, engaged in printing a small edition of this 
book. There is evidence that these types were in _use at least as early as 1451. 
Two leaves of an early typographic edition of the Donatus, 27 lines to the page, 
printed on vellum from the types of the Bible of 36 lines, have been discovered near 
Mentz, in the original binding of an old account book of 1451.1 In one word the 
letter i is reversed, a positive proof that it was printed from types, and not from 
blocks. The ink is still very black, but Fischer says that it will not resist water. 
Bernard refuses this statement. He says that the fragments of other editions of the 
Donatus in this type, supposed to be of the same period, which he inspected in the 
British Museum, show ink that is permanent. As this fragment shows the large 
types of the Bible of 36 lines in their most primitive form, it authorizes the belief 
that it should have been printed by Gutenberg soon after his return to Mentz. 

During the interval between 1440 and 1451, about which history records so little, 
Gutenberg may have printed many trifles. He could not have been always un- 
suecessful: he could not have borrowed money for more than ten years, without 
a demonstration of his ability to print and to sell printed work. It is probable 
that he had to postpone his grand plans, and that his necessities compelled him to 
begin the practice of his new art with the printing of trivial work. There is evi- 
dence that the branch of typography which is now known as job printing is as old 
as, if not older than, book-printing. This evidence is furnished in the Letters of 
Indulgence, which have distinction as the first works with type-printed dates. 

Three distinct editions of the Letters of Indulgence are known. The copies are 
dated 1454 or 1455, but are more clearly defined by the number of the lines in each 
edition, as Letters of 30, or 31, or 32 lines. Each Letter is printed from movable 
types, in black ink, upon one side of a stout piece of parchment, about nine inches 
hich and thirteen inches wide. The form of words is substantially the same in all 
editions, and all copies present the same general typographical features, as if they 
were the work of the same printing office. In all copies, the presswork is good ; 
they seem to have been printed by a properly constructed press on damp vellum 
with ink mixed in oil. The types of the three editions have a general resemblance, 
yet they differ seriously as to face and body. They were certainly cast from 


1Fischer, Essai sur les monuments typographiques, p. 70. 


‘dr'Ios 


WITH 8 TO PICA LEADS. 


JOHN GUTENBERG AT MENTZ. 


Germany. _ Theodoric, archbishop of Mentz, gave him full permission to sell 
them, but held the commissioner accountable for the moneys collected. The 
precaution was justified. When the dreaded news of the capture of Constanti- 
nople (May 29, 1453) was received, John de Castro, thinking that Cyprus had 
also been taken, squandered the money he had collected. De Castro was 
arrested, convicted and sent to prison, but the scandal that had been created 
by the embezzlement greatly injured the sale of the indulgences. As the per- 
mission to sell indulgences expired by limitation on May 1, 1455, Zappe, the 
chief commissioner, made renewed and more vigorous efforts to promote the 
sale. It was found that, in the limited time allowed for sale, the customary 
process of copying was entirely too slow. There was, also, the liability that a 
hurried copyist would produce inexact copies; that an unscrupulous copyist or 
seller would issue spurious copies. These seem to have been the reasons that led 
Zappe to have the documents printed, which was accordingly done, with blank 
spaces for the insertion of the name of the buyer and the signature of the seller. 

The typography of this Letter of 31 lines is much better than that of the 
Donatus, but it has many blemishes. The text is deformed with abbreviations ; 
the lines are not evenly spaced out; the capital letters of the text are rudely 
drawn and carelessly cut. The white space below the sixteenth line,! and the 
space and the crookedness in the three lines at the foot, are evidences that 
the types were not securely fastened in the chase. These faults provoke 
notice, but it must be admitted that the types were fairly fitted and stand in 
decent line. They were obviously cast in moulds of metal; it would be im- 
practicable to make types so small in moulds of sand. 

Highteen copies of these Letters of Indulgence are known, all bearing the 
printed date of 1454 or of 1455. The places where they were sold having been 
written on the document by the seller, we discover that they must have been 
sold over a large territory, for one was issued at Copenhagen, another at 


1 For fac-simile and translation, of a Letter of 1454, see Appendix. 


yO legislegit apit leqim? leitis lequt tito il 
-| fio leet legebas legebat iit legebam? leqeba 
tis Leqebat Potito picolent leqitti legit tplé lequm? legit 


tis legetiit ut leqece tito pllFpito leqrealegeras lege 


Fac-simile of the Types of the Donatus of 1451. 


JOHN GUTENBERG AT MENTZ. 


different matrices and adjustments of the mould, and were composed by 
different compositors. _In the edition of 30 lines, the types of the 
text are on a body smaller than English, and those of the large 
lines are on Paragon body; in the edition of 31 lines the types 
of the text are on English body, and those of the large lines 
approximate Double-pica body. 
The types on Double-pica body are those of the Donatus of 1451 
he and the Bible of 36 lines ; the types on Paragon body are those of 
the Bible of 42 lines. The appearance of these types in the Bibles 
is presumptive evidence that the printer of the Bibles was the 
printer of the Letters. The small types are unique; they were 
never used, so far as we know, for any other work. The large initials 
may have been engraved on wood, but the text and the dlspiay lines were founded 
types. The illustration above shows that although the matrices were fitted with 
closeness, each type was founded on a square body. 
The text letters are of the form known to librarians as lettres 
de somme, or letters of account, which may be understood as the 
carelessly made letters then used in books of account. The letters 


of the large lines are of the form known as 
erly 
pincers 


English 
Body. 


Double-pica 
Body. 


lettres de forme, or ere of epee ra he ee 
— v ens) ular and careiu y may e€ 
Caitesinelily | 
\ | eee arpa lia | 4h 
| pif Reis Cpa bak ie 


letters of fine books. The 
lettres de somme will be 
defined in this book un- 
der the name of Round 
Gothic; the lettres de 
forme, under the name of Pointed Gothic. ; i } 

Deceived by the close fitting-up of the matrices, earlier writers said that the 
letters were xylographic. The comments of Dr. Van der Linde on this error are 
pertinent: “It was thought necessary to find the wooden letters of the imagina- 
tion, and hence bibliography presents the dismal spectacle that almost all monu- 
ments of the excellent invention, that fruit of a vigorous mind, of a simple, but 
ample and grand idea, have been declared by would-be connoisseurs one by one 
to be xylographic. This caused the double trouble of first making out, with much 
verbosity and an air of perspicuity, incontrovertibly typographical masterpieces to 
be wood, and then afterward putting aside this pedantry and returning to the sim- 
ple truth. The origin of typography presents nowhere anything narrow-minded, 
worthless, or trifling, for it belongs to the grand facts of history, but trifling minds 
have soiled it with their own littleness.” Haarlem Legend, p. 77. , 

The circumstances connected with the publication of the Letters require more 
than a passing notice, for they present the first specific indication of a demand for 
printing. These circumstances give us a glimmer of the corruption of some of the 
men who sold the indulgences—a corruption which, in the next century, brought 
down upon the sellers and the system the scorn of Holbein and the wrath of Luther. 

On the twelfth day of April, 1451, a plenary indulgence of three years was ac- 
corded by Pope Nicholas V to all who, from May 1, 1452, to May 1, 1455, should 
properly contribute with money to the aid of the alarmed king of Cyprus, then 
threatened by the Turks. Paul Zappe, an ambassador of the king of Cyprus, 
selected John de Castro as chief commissioner for the sale of the indulgences in 


GEORGE BRUCE’S SON & CO., 


‘d1tos 


(From Fischer. | 


WITH 8 TO PICA LEADS. 


JOUN GUTENBERG AT MENTZ. 


Nuremberg, and another at Cologne. The large number of copies preserved 
is evidence that many copies must have been printed. It is probable that 
Gutenberg was required to compose and print the form at three different times; 
but we do not know why he found it necessary to make a new face of text 
type for the second and third editions, for it is very plain that the types of 
the first edition were not worn out. 

It is possible that other books, now lost and forgotten, may have been printed 
in the small types, but Helbig thinks that the types were made expressly for 
the Letters of Indulgence, as bank-notes are now made, with the intention 
that the copies of each edition should be exactly alike in appearance, and that 
they should be difficult of imitation. Bernard disserts from the belief that the 
Letters of Indulgence were printed by Gutenberg He attributes them to 
some printer of unknown name in Mentz, supposed by him to have been either the 
false workman described by Junius, or some graduate or seceding malcontent 
of Gutenberg’s printing office. But we have no evidence of a typographical 
printer before Gutenberg. Jiiek has endeavored to prove that two Letters were 
printed by Pfister of Bamberg. De la Borde thinks one of the faces of type 
used in the Letters was cut by Schoeffer in a friendly competition with Guten- 
berg. These conjectures cannot be made plausible. 

The Appeal of Christianity against the Turks, sometimes called the Almanac 
of 1455, is another small work attributed to Gutenberg. It is a little quarto 
of six printed leaves, in German verse, in the large type of the Bible of 36 
lines. As it contains a calendar for the year 1455, it is supposed that it was 
printed at the close of 1454. Its typographical appearance is curious: the type 
was large, the page was narrow, and the compositor run the lines together as 
in prose, marking the beginning of every verse with a capital, and its ending 
by a fanciful arrangement of four full points. It is the first typographic 
work in German, and the first work in that language which can be attributed 
to Gutenberg. But one copy of this book is known. 

Gutenberg’s fame as a great printer is more justly based on his two editions 
in folio of the Holy Bible in Latin. The breadth of his mind, and his faith 
in the comprehensiveness of his invention, are more fully set forth by his 
selection of a book of so formidable a nature. There was an admirable pro- 
priety in his determination that his new art should be fairly introduced to the 
reading world by the book known throughout Christendom as The Book. 
These two editions of the Bible are most clearly defined by the specification 
of the number of lines to the page in the columns of each book: one is the 
Bible of 42 lines,! in types of Paragon body, usually bound in two volumes; 


1 It is sometimes described as the Mazarin Bible, and sometimes as Gutenberg’s First Bible. 


TypE-FounDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


4 
ant tet 
a Tr AN Oe he 
MAb D Fo ae, Oe Mee tf 
Line Wily 
‘ Or) eae ee eG 
q : ae ee eae to 
| | ene heer Atle ehh 
} ; Ab 1 gph boy Yen, eae 
lex “eh eke ae ind Deine . 
i ie 1 (heh ad we pele Di eae 
ged vee aah aig 
y : } 
{@ 
ae 
ah t 4. ¢b 1 
pail 
Ne ’ 
ea 
4s* v 
+ 
; ' 
{ 
: i 
wad. f 
? X 4 « 
t 
t 
i 7 
, ‘ 
~ 
a ‘ 
: ng Oi ~aat ical he hee witha 
P } iy Aa. esp oye Ve penal um 
’ ’ ebay (bea) @ en 88d 
‘ & reagead ala 
tive feng’ ft rae ae ” at 
G ao) 6 Hpqt} @ we 1 * ea nd 
Fy aT oe ‘ i hi Qcolwr O46 
~ ( a Gets i. \peaeeet ine 
= | 4» beh > , named id pie . — 
160 A> Gini 1M yccpeeyl : 
o od Le i ee LL 
: . | Pd é ‘@54 e ary 
\ ‘ is 
A st abl Wiens eo le 
) P * aa ad r? ~y Mis 
r feds ag agh (eu 
U 


POY abe My 


or 
‘Us 
ar ig Vl 


Smetana i 


a 
aie 


xy : 
iG. 


, 7] 
a) * 


adel 2 Nel ’ 
a! cadlp A 
ore war 
« Gh apee, 
mtia Ope 
he ( at 
der a Dy tte 


. 
7 


Aes 


aN a “ 
apeian | haut wp)! 
4s ihbe Clee v iy 
oe el SS Se, 


Wrst oe 


ae +) + 


‘pnt > ne 


128 


NonPAReEIL, No. 


JOHN GUTENBERG AT MENTZ. 


the other is the Bible of 36 lines,! in 
types of Double-pica body, usually bound 
in three volumes. 

It is not certainly known which was 
printed first. Hach edition was published 
without printed date, and, like all other 
works by Gutenberg, without name or 
place of printer. They were not ac- 
curately described by any contemporary 
author. In the sixteenth century they 
were obsolete, and the tradition that they 
had been printed by Gutenberg was en- 
tirely lost. When a copy of the Bible of 
42 lines was discovered in the library of 
Cardinal Mazarin, and was identified as 
the work of John Gutenberg, it was not 
known that there was another edition. 
The Bible of 42 lines was consequently 
regarded as the first—as the book des- 
eribed by Zell, which, he says, was print- 
ed in 1450. This belief was strengthened 
by the subsequent discovery, in another 
copy of this edition, of the certificate of 
an illuminator that, in the year 1456, he 
had finished his task of Ulumination in 
the book. More than twenty copies of 
this edition (seven of which are on vel- 
lum) have been found, and they have 
generally been sold and bought as copies 
of the first edition. 

The Bible of 36 lines was definitely 
described for the first time by the bibli- 
ographer Schwartz, who, in 1728, dis- 
covered a copy in the library of a monas- 
tery near Mentz. In the old manuscript 
catalogue of this library was a note, 
stating that this book had been given to 
the monastery by John Gutenberg and 
his associates. Schwartz said that this 


1This is known as the Bamberg Bible, be- 
cause nearly all the known copies of this edi- 
tion were found in the neighborhood of the 
town of Bamberg; as Pfister’s Bible, because 
it has been attributed, incorrectly, to Albert 
Pfister, a printer of Bamberg; as the Schelhorn 
Bible, because it was fully described by the 
bibliographer of that name; as Gutenberg’s 
Second Bible, because it is the belief of many 
authors that it should have been printed by 
Gutenberg about 1459, after his rupture with 
John Fust. 


must have been the 
first edition. A still 
more exact descrip- 
tion of this edition was 
published by Schel- 
horn in 1760, under 
the title of The Oldest 
Edition of the Latin 
Bible. He said that 
this must have been 
the edition described 
by Zell. 

The Bible of 36 
lines is a large demy 
folio of 1764 pages, 
made up, for the most 
part, in sections of ten 
leaves, and usually 
bound in three vol- 
umes. Hach page has 
two columns of 36 lines 
each. In some sec- 
tions, a leaf torn out, 
possibly on account of 
some error, has been 
replaced by the in- 
sertion of a single leaf 
or a half sheet. The 


JOHN GUTENBERG AT MENTZ. 


it is probable that 
the number printed 
was small. Nearly all 
the copies and leaves 
of this edition were 
found in the neigh- 
borhood of Bamberg. 
This curious cireum- 
stance may be explain- 
ed by the supposition 
that the entire edition, 
probably small, had 
been printed at the 
order of, or had been 
mortgaged to, one of 
the many ecclesias- 
tical bodies of that 
town. There is evi- 
dence that Gutenberg 
frequently borrowed 
money from wealthy 
monasteries. The im- 


workmanship of the 
first section is inferior; 
the indentation of pa- 
per by too hard pres- 
sure is very strongly 
marked; the pages are sadly out of re- 
gister; on one page the margins and 
white space between the columns show 
the marks of the wood chase and bear- 
ers which were used to equalize impres- 
sion and prevent undue wear of types. 
This section has the appearance of ex- 
perimental or unpractised workmanship. 
Tt is apparent, almost at a glance, that 
the printer did not use a proper chase 
and bearers, nor a frisket, nor points for 
making register.1 All other sections 
were printed with the proper appliances, 
with uncommon neatness of presswork, 


1 Bernard, De Vorigine et des debuts de Vim- 
primerie, Vol. 11, p. 30, 


19 


et rum con pp 


‘aTTOS 


John Fust. 


{From Maittaire.} 


py shah 


7 TO PICA LEADS. 


[ 


contractions 


perfect workmanship 
of the first section is, 
apparently, the work 
of a printer in the be- 
ginning of his practice, when he had not 
discovered all the tools and implements 
which he afterward used with so much 
success.! 

The Bible of 36 lines should have been 
in press a long time, for it cannot be 
supposed that Gutenberg had the means 
to do this work with regularity. His 


1JIn the first essays of printing, great diffi- 
culties were encountered. For when they [the 
first printers] were printing the Bible, they 
were obliged to expend more than four thou- 
sand florins before they had printed three 
sections. Trithemius, as reprinted by Wolf, 
Monumenta Typographica, vol. 11, p. 65 


A 


pro 


wAYy 


iqitt 


Some of the Abbreviations of the Bible of 36 lines. 


JOHN GUTENBERG AT MENTZ. 


in black ink, with exact register, and 
with a nicely graduated impression, 
which shows the sharp edges of the 
types with clearness. 

The types of this book closely resem- 
ble, in face and body, many letters be- 
ing identically the same, the types of the 
display line in the Letter of Indulgence 
of 31 lines, and of the Donatus of 1451. 
In some features they resemble the types 
of the Bible of 42 lines. It is possible 
that the types of each edition were de- 
signed and made by the same letter eut- 
ter, and that they were made for and 
used by the same printer. This opinion 
is strengthened after an inspection of the 
mannerisms of the composition, which 
are those of the Bible of 42 lines. The 
colon, period, and hyphen are the only 
marks of puhctuation. The lines of the 
text are always full: the hyphen is fre- 
quently seen projecting beyond the let- 
ters. A blank space was left for every 
large initial, which, it was expected, 
would be inserted by the calligrapher. 
Red ink was not used by the printer; 
the letters to be rubricated were dabbed 
over with a stroke from the brush of 
the illuminator. 

One copy of the book contains a writ- 
ten annotation dated 1461. An account 
book of the Abbey of Saint Michael of 
Bamberg, which begins with the date 
March 21, 1460, has in its original bind- 
ing some of the waste leaves of this Bible. 
These, the earliest evidences of date, 
prove that this edition could not have 
been printed later than 1459. That it 
was Cone in 1450, as asserted by Madden, 
has not been decisively proved, but the 
evidence favoring this conclusion de- 
serves consideration. Ulric Zell’s testi- 
mony that the first Bible was printed in 
1450 from missal-like types,! points with 


1In the year of our Lord 1450, they began to 
print, and the first book the printed a the 
Bible in Latin: it was printed in a large letter, 
resembling the letter with which, at present, 
missals are printed. Cologne Chronicle of 1499. 


GEORGE BRUCE’S SON & CO., Typn-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


directness to the Bible of 36 lines, for 
there is no other printed Bible to which 
Zell’s description can be applied. Its 
close imitation of the large and generous 
style in which the choicer manuscripts 
of that period are written marks the 
period of transition between the old and 
the new style of book-making. The pro- 
digality in the use of paper seems the 
work of a man who had not counted the 
cost, or who thought that he was obliged 
to disregard the expense. As not more 
than half a dozen copies are known, 


‘aI'IOs 


(From Duverger.] 


7 TO PICA LEADS. 


office was destitute of composing sticks 
and rules, iron chases, galleys, and im- 
posing stones. Deprived of these and 
other labor-saving tools, without the ex- 
pertness acquired by practice, frequently 
delayed by the corrections of the reader, 
the failures of the type-founder and the 
errors of pressmen, it is not probable 
that the compositor perfected more than 
one page aday. He may have done less. 
Even if, as Madden supposes, two or 
more compositors were engaged on this, 
as they were upon other early work, the 
Bible of 36 lines should have been in 
press about three years. 

These evidences, which seem to favor 
the theory of the priority of the Bible of 
36 lines, combine many features of prob- 
ability, but they are not free from ob- 
jections. Too little is known about the 
book to warrant a positive statement as 
to its age. In nearly all the popular 
treatises on printing, the Bible of 42 
lines is specified as the first book of 
Gutenberg, but it is the belief of many 
of the most learned bibliographers, from 
Zapf to Didot and Madden, that the 
Bible of 36 lines is the older edition. 
The theory that it must have been print- 
ed by Gutenberg between 1457 and 1459, 
and the proposition that it may have 
been printed by Albert Pfister of Bam- 
berg at or soon after that time, will be 
examined on an advanced page. 

The newness of the types seems to 
favor the opinion that this must be the 
earlier edition. The same types, or types 
cast from the same matrices, were fre- 
quently used in little books printed be- 


JOHN GUTENBERG AT MENTZ. 


tween the years 1451 and 1462, but they 
always appear with worn and blunted 
faces, as if they had been rounded under 
the long-continued pressure of a press, 
or had been founded in old and clogged 
matrices. 

Gutenberg deceived himself as much 
as he did his Strasburg partners, in his 
over-sanguine estimate of the profits of 
printing and the difficulties connected 


Fac-simile of Holbein’s Satire on the Sale of Indulgences. 
[Prom Woltmann.] 


‘The canon at the right absolyes the kneelin 


the widow puts her mite. 


es ng young man, but points significantly to the huge money-chest into which 
Three Dominicans, seated at the table, are preparing and See Anne ences: one of 


them, Ree eae the letter, greedily counts the money as it is paid down; another pauses in his writing, to repulse 


the penitent 


ut penniless cripple; another is leering at the woman whose letter he delays. The pope, enthroned in 


the nave, and surrounded by cardinals, is giving a commission for the sale of the letters. 


* 1. 
~~ Sek te ee 


with its practice. His printed work did 
not meet with the rapid sale he had an- 
ticipated, or the cost of doing the work 
was very much in excess of the price he 
received. The great success which An- 
drew Dritzehen hoped to have within 
one year, or in 1440, had not been at- 
tained in 1450. During this year Guten- 
berg comes before us again as the bor- 
rower of money. If he had been only an 
ordinary dreamer about great inventions, 

he would have abandoned an enterprise 
so hedged in with mechanical and finan- 
cial difficulties. But he was an inventor 
in the full sense of the word, an inventor 
of means as well as of ends, as resolute 
in bending indifferent men as he was in 
fashioning obdurate metal. After spend- 
ing, ineffectually, all the money he had 
acquired from his industry, from his 
partners, from his inheritance, from his 
friends,—still unable to forego his great 
project,—he went, as a last resort, to 

one of the professional money-lenders of 
Mentz. “Heaven or hell,” says Lacroix, 

“sent him the partner, John Fust.” 

His name is often improperly written 
as Faust. In all the books subsequently 
printed by Fust and his partner, Schoeff- 
er, the name appears as Fust. It was 
so written and printed by all his con- 
temporaries, and is so seen, wherever it 
oecurs, in the record of the famous trial 
he instituted. It is so spelt in the chureh 
record of his burial. During his lifetime, 
and. for at least thirty years after his 
death, the name is always given as Fust, 
The notorious reputation subsequently 


Nonparein, No. 15. 


JOHN GUTENBERG AT MENTZ. 


made by Dr. John Faust, who was born 
in Wurtemberg in 1480 (several years 
after the death of Fust), who studied 
magie in Cracow, and, by his learning 
and wickedness, horrified wise men like 
Luther and Melancthon; whose life, 
deeds and death are involved in a mys- 
tery that dramatists have turned to 
such good account, has been transferred 
by carelessness to John Fust, the print- 
er. The confusion has been perpetuated 
by a legend. The fable, not yet weeded 
out of treatises on printing, that Fust 
was arrested in Paris for selling bibles, 
supposed to have been manufactured at 
the instigation of the devil, has served to 
foster the error. 

The character and services of John 
Fust haye been put before us in strange 
lights. By some of the earlier writers 
he was most untruly represented as the 
inventor of typography, as the instructor, 
as well as the partner, of Gutenberg. By 
another class of authors he has been re- 
garded as the patron and benefactor of 
Gutenberg, a man of public spirit, who 
had the wit to see the great value of 
Gutenberg’s new art, and the courage to 
unite his fortunes with those of the needy 
inventor. This latter view has been 
popular: to this day, Fust is thoroughly 
identified with all the honors of the in- 
yention. The unreasonableness of this 
pretension has sent other writers to the 
opposite extreme. During the present 
century, Fust has been frequently paint- 
ed as a greedy and crafty speculator, 
who took a mean advantage of the needs 
of Gutenberg, and basely robbed him of 
the fruits of his invention. 

Those who fayor this view of Fust’s 
character, find a peculiar significance in 
the radical meaning of his name, Fust 
—in German, fist, the symbol of all that 
is hard, close, grasping, and aggressive. 

It is possible that Gutenberg knew 
John Fust, the money-lender, through 
business relations with Fust’s brother, 
Jamés, the goldsmith; for we have seen 


800 guilders, at 6 per cent. interest. The 
tools and materials made by Gutenberg 
for the uses of the partnership should 
remain mortgaged to Fust, as security 
for this loan of 800 guilders, until the 
whole sum should be paid.— When the 
aforesaid tools and materials should be 
made, Fust should, every year, furnish 
Gutenberg with 300 guilders to provide 
for the payment of the paper, vellum, ink, 
wages and the other materials that would 
be required for the execution of the work. 
—For these advances Fust should have 
one-half of the profits made from the sale 
of the products of the partnership.— 
Fust should be exempted from the per- 
formance of any work or service con- 
nected with the partnership, and should 
not be held responsible for any of its 
debts.” 

The terms were hard. But Gutenberg 
had the firmest faith in the success of 
his invention; in his view it was not only 
to be successful, but so enormously pro- 
fitable that he could well afford to pay 
all the exactions of the money-lender. 
The object of the partnership is not ex- 
plicitly stated, but it was, without doubt, 
the business of printing and publishing 
text books, and, more especially, the 
production of a grand edition of the 
Bible, the price of a fair manuscript 
copy of which, at that time, was five 
hundred guilders. The expense that 
would be made in printing a large edition 
of this work seemed trivial in comparison 
with the sum which Gutenberg dreamed 
would be readily paid for the new books. 
But the expected profit was not the only 
allurement. Gutenberg was, no doubt, 
completely dominated by the idea that 
necessity was laid on him—that he must 
demonstrate the utility and grandeur of 
his invention,—and this must be done 
whether the demonstration beggared or 
enriched him. After sixteen years of 
labor, almost if not entirely fruitless, he 
snatched at the partnership with Fust 
as the only means by which he could re- 
alize the great purpose of his life. The 
overruling power of the money-lender 


that, during his experiments in Stras- 
burg, Gutenberg had work done by two 
goldsmiths. What projects Gutenberg 
unfolded to John Fust, and what allure- 
ments he set forth, are not known; but 
the wary money-lender would not have 
hazarded a guilder on Gutenberg’s in- 
vention, if he had not been convinced of 
its value and of Gutenberg’s ability. 
John Fust knew that there was some 
risk in the enterprise, for it is probable 
that he had heard of the losses of Drit- 
zehen, Riffe and Heilmann. In making 
an alliance with the inventor, Fust neg- 
lected none of the precautions of a 
money-lender. He really added to them, 
insisting on terms through which he ex- 
pected to receive all the advantages of a 
partnership without its liabilities. 

These were the terms of the contract, 
made in August, 1450: 

‘““The partnership between Gutenberg 
and Fust should be for five years, in 
which time the work projected by Gu- 
tenberg should be completed.— For the 
purposes of this partnership, not speci- 
fied, Fust should advance to Gutenberg 


1 


y 


‘dr'to 


TO PICA LEADS. 


8 


WITH 


129 


JOHN GUTENBERG AT MENTZ. 


was shown in the beginning of the part- 
nership. Gutenberg had ready the types 
of the Bible of 36 lines, and had, per- 
haps, printed a few copies of the work 
—too few to supply the demand. 
Another edition could have been print- 
ed without delay, but it was decided that 
this new edition should be in a smaller 
type and in two volumes. It was intend- 
ed that the cost of the new edition should 
be about one-third less than that of the 
Bible of 36 lines. Gutenberg was, con- 
sequently, obliged to cut a new face and 
found a new font of types, which, by the 
terms of the agreement, were to be mort- 
gaged to Fust. 

Fust did not assist Gutenberg as he 
should haye done. Instead of paying 
the 800 guilders at once, as was implied 
in the agreement, he allowed two years 
to pass before this amount was fully 
paid. The equipment of the printing 


a= 


Edilapline rocupilretia- Lura 
ry diltipline dilectio 2:4 Dilec- 
no mfodialequ illi? 2 - Lutia- 
Ditto atic lequm rofunimatia 


r 


a) 


Trorrupriont 


Sri: mrorruptio 


aut farit elle primi tto-Loru- 
piltetta itags Laprentic Pouce 
ad requir pecpecun-B! eeqa i- 
leckarini Tedibs erferperis a re- 
ges inl: diligite fapieatta uti 
prepecuit requerts- Diligttelu 
meifapiente: omnes ut pel- 
fis nlis-A2uid rh arc lapirtia 
trguradmadu facta fie retera 
qnonablontam a vobista- 
framensa del: fed ab indo na- 
tinitadts inettiqgabo: ccponat 
lucent friend ilins-4 mon pite- 
ribo weritare : nrg; cum midta 


Fac-simile of the Types of the Bible of 36 Lines, with the Rubricator’s Marks on the 
Capitals. Verses 17 to 22 of the Sixth Chapter of the Book of Wisdom. 


office with new types was sadly delayed. 
At the end of the two years, when Gu- 
tenberg was ready to print, he needed 
for the next year’s expenses, and for the 
paper and vellum for the entire edition; 
more than the 300 guilders allowed to 
him by the agreement of 1450. Fust, 
perceiving the need of Gutenberg, saw 
also his opportunity for a stroke in 
finance, which would assist him in the 
designs which he seems to have enter- 
tained from the beginning. He proposed 
a modification of the contract—to com- 
mute the annual payment of 300 guilders 
for the three successive years by the im- 
mediate payment of 800 guilders. As 
an offset to the loss Gutenberg would 
sustain by this departure from the con- 
tract, Fust proposed to remit his claim 
to interest on the 800 guilders that had 
been paid. Gutenberg, eager for the 
money, and credulous, assented to these 
modifications. 

The delays and difficulties which Gu- 
tenberg encountered in the printing of 
this edition were great, but no part of 
the work was done hastily or unadvisedly. 
He may not have received practical edu- 
cation as a book-maker, but he had the 
rare good sense to accept instruction 
from those who had. The Bible of 42 
lines was obviously planned by an adept 
jin all the book-making skill of his time. 
It was laid out in 66 sections, for the 
most part of 10 leaves each. To facili- 
tate the division of the book in parts (so 
that it could be bound, if necessary for 
the convenience of the reader, in ten 
thin volumes), some of the sections have 


but 4, some 11, and some 12 leaves, The 
book proper, without the summary of 
contents, consists of 1282 printed pages, 
2 columns to the page, and, for the most 
part, with 42 lines to the column. 
There are two kinds of copies, with 
differences which seem to justify the 
opinion that they belong to two distinct 
editions. In one kind, all the copies 
have 42 lines to the column, and all the 
summaries of chapters are written and 
not printed. In the other kind, the first 
eight pages of the first section have 40 
lines to the column; the ninth page has 
41 lines; the tenth and all other pages 
(except two 40-line pages in the book of 
Maceabees) have 42 lines ; and the pages 
of 40 and 41 lines have their five sum- 
maries printed in red ink. The same 
face of type is used in both kinds of 
copies, but the pages of 40 and 41 lines 
occupy the same space as the pages of 
42 lines, beginning and ending, for the 
most part, with the same words. Ber- 
nard says that the 40-line pages were 
reset by Peter Schoeffer after Fust had 
acquired the unsold copies of the Bible, 
with intent to lead the purchaser of the 
book to form the belief that it was an 
entirely new edition. Other writers sug- 
gest that a portion of the first section 
may have been spoiled, and replaced by 
a subsequent reprinting. But the differ- 
ences are not confined to the first sec- 
tion. In many other sections there are 
differences in the spelling and abbrevi- 
ation of words which clearly prove that 
the two kinds of copies were printed 
from separately composed and distinct 
forms. The double composition of 
every page for the same edition seems a 


GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHamBers-STREET, NEW-YORK. 


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130 Nonpareit, No. 16. 


JOHN GUTENBERG AT MENTZ. 


useless waste of labor, but the proofs of this double labor are unmistakable. A wide 
margin was allowed for the ornamental borders, without which no book of that time 
was complete, and large spaces were also left in the text for the great initial letters. 
It was expected that the purchaser of the book would have the margins and spaces 
covered with the fanciful designs and bright colors of the illuminator. In some 
copies, this work of illumination was admirably done; in others it was badly done 
or entirely neglected. The rubrics were roughly made by dabbing a brush filled 
with red ink over a letter printed in black. On the pages of 40 lines, the summa- 
ries of chapters were printed in red ink; on other pages the summaries were 
written, sometimes in red and sometimes in black ink. It would seem that it was 
Gutenberg’s original intention to print all the summaries in red ink, and that he 
was obliged, for some unknown reason, to have them written in. 

The general effect of the typography is that of excessive blackness,—an effect 
which seems to have been made of set purpose, for the designer of the types made 
but sparing use of hair lines. It may be that the avoidance of hair lines was caused 
by difficulties of type-founding. The type-founding was properly done: the types 
have solid faces and stand in line. The letters are not only black but condensed, 
and are so closely connected that they seem to have been spread by pressure. 
Double letters and abbreviations were freely used. Judged by modern standards, 
the types are ungraceful; the text letters are too dense and black, and the capitals 
are of rude form, obscure, and too small for the text. The presswork is unequal : 
on some vellum copies, the types are clearly and sharply printed; on other copies, 
they show muddily from excess of ink. On the paper copies, the ink is usually of 
a full black, but there are pages on paper and on yellum, in which, for lack of ink 
and impression, the color is of a grimy gray-black. Bernard says that over-colored 
and under-colored pages are by no means rare. He attributes this unequal black- 
ness to imperfections in the inking implements. [De Vorigine de Vimprimerie, 
vol. I, p. 182]. Van der Linde and others 
say that the ink will not resist water, but 
the ink on the fragments of vellum be- 
longing to Mr. Bruce stood a severe test 
by water, without much weakening of 
color. The register on the paper copies 
is very good; on the yellum copies it is 
offensively irregular, a plain proof that 
the vellum had been dampened, and had 
shrunk or twisted before the second side 
was printed. 

It has been said that this Bible of 42 
lines was printed with intent to cheat 
purchasers, so that it might be sold as 
a manuscript. There is a legend that 
Fust did attempt the cheat at Paris, but 
there is no good authority for the libel, 
which scarcely deserves examination. 


* 


and printed books, but these men were 


There were, no doubt, during the fifteenth : ae WER bd < vi ra 
century, many who could not perceive arg Tie ft it sua in TatT ie) 
the dissimilarities between manuscript 3 . a 
pi till. Varuie atic ian 
MONO OU 4 UL Larait aut hig 


“GITOS 


WITH 7 TO PICA LEADS. 


lloshibe  uril.cis norte cot. Aunr 
ee HD ten ptans key 
fup reruiees Dultipiayys neq nos ne- 
13 pres url potare ponies ¢ Seo 


JOHN GUTENBERG AT MENTZ. 


one line chases another with a grudging of white space and of true relief which 
is not atoned for by the dabs of red in the rubrics, nor by the profuse wealth of 
ornamentation in the centre column and margins. The composition is notice- 
ably irregular: the lines are not always of uniform length. When a word 
was divided, the hyphen was allowed to project and give to the right side of 
the column a ragged appearance. When there were too many letters for the 
line, words were abbreviated. The measure was narrow, and it was only 
through the Mberal use of abbreviations that the spacing of words could be 
regulated. The period, colon and hyphen were the only points of punctuation. 

The manuscript taken for copy was not strictly accurate, and the errors of 
the seribe were repeated by the compositor, The liberties taken by scribe and 
compositor in the making of abbreviations, and in the spelling out of abbrevia- 
tions, were a prolific source of error. It was quite as much on account of the 
frequency of these errors, as the obsoleteness of the types, that this famous 
edition was so soon laid aside and was so quickly forgotten. It was sup- 
planted by the editions of the more scholarly printers of the sixteenth century, 
who collated a great many manuscripts and printed copies before they prepared 
a new copy for the printer. ’ 

It is unfortunate that Gutenberg did not, as was customary with the book- 
makers of that time, put his name and the date of printing on the book. The 
omission was partially supplied by an illuminator who suffixed the following 
colophons or subscriptions to his copy of 
the book: 

First Volume. Here endeth the First 
Part of the Old Testament of the Holy 
Bible, which was illuminated, rubricat- 
ed and bound by Henry Albech, or 
2 ps Cremer, on Saint Bartholomew's Day 

(August 24), in the year of our Lord 
nae mgt 1456. Thanks be to God. Hallelujah. 

Second Volume. This book was illu- 
minated, bound and perfeeted by Henry 
Cremer, vicar of the Collegiate Church 
of Saint Stephen in Mentz, on the Feast 
of the Assumption of the Blessed Virgin 
(August 15), in the year of our Lord 1456. 
Thanks be to God. Hallelujah. 

As the second volume was illuminated 


Doceaudicharbarnata zpaulit nar- 


not book-buyers. To the intelligent book- 
buyer, the features of dissimilarity were 
conspicuous.! It is not at all probable 
that Gutenberg entertained any thought 
of deception: he imitated his manuscript 
copy only because it was in an approved 
style of book-making. 

Although the types of this Bible are 
obsolete, there is something pleasing in 
their boldness and solidity to a reader 
who is wearied with the small trim let- 
ters, light lines and apparently paler ink 
of modern books. The effect of rugged 
strength is relieyed by the flowing lines, 
vivid colors and complex ornamenta- 
tion of the odd borders and_ initials 
which have been added by designer and 
iluminator. How much of the pleasure 
derived from an inspection of the work is 
due to the skill of the printer, and how 
much to the art of the illuminator, has 
not always been judicially weighed by 
those who represent the book as a speci- 
men of perfect printing. It cannot be 
denied that the most attractive features 
of the book are those made, not by print- 
ing, but by illumination, but it is plain 
that the designs and ornamentation are 
not of a character appropriate to the 
text. They would not be allowed in 
any modern edition of the book. 

The workmanship of the printer in his 
own proper field is wonderful when we 
regard the circumstances under which 
it was done, but it would not satisfy the 
requirements of a modern publisher or 
book-buyer. It is of its own time, with 
the faults of that time, in manner and 
matter. The promise of legibility, which 
seems warranted by the bold and black 
types, is delusive. The ordinary Latin 
scholar cannot read the book, nor refer 
to any passage in it, with satisfaction. It 
is without title and paging figures. The 
blank spaces which indicate changes of 
subject, and give relief to the eye, were 
seized by the illuminator. Verse follows 
verse, and chapter follows chapter, and 


1See the fac-similes of Sotheby and Hum- 
phreys. The written summaries of this Bible, as 
they present them, are unlike the printed text, 


rane quanca i ferllet ligne + pro. 
bigain gebus p eos . Ce polkiq; ta- 
Tueriiceedpe hit tarchus Duens. Vivi 
Rutten audite wi Symon navcaut 
HULADINODU Hail Deus wilitaiefite ee 
mere re Qeatibns gaint nomim fiocs 
uric commobanne veele ppipcariicficur 
Iniprt 2. Pott hee reuecrae ecveedrftca- 
bo ralenactin anid qo Deadit 2 Divu- 
tamusredificabors cogam iluaut 
requrrae cotecl hot Dri s omnes 
Hentes hips uas muprat f nomen 
weil Dict dite facietre Hee 
rulogdioopusihi. Propte quad 
TA mTicg ny wigquiecare Los PE et 
tbs onectunt ad Detecled Ienbere ad 


Fac-simile of the Types of the Bible of 42 Lines, with the Rubricator’s Marks on the 
Capitals. Verses 10 to 20 of the Fifteenth Chapter of the Acts of the Apostles. 


nine days before the first volume, it may 
be supposed that, on this copy, the work 
of iumination was started on the sheets, 
as soon as they had been printed and be- 
fore they were bound. It is possible that 
the last sheet was printed in 1456, but it 
is amore general belief that the work was 
completed in 1455, 

There is no tradition about the number 


three hundred copies were regarded by 
printers of Italy as a proper number for 
an edition in folio. It is not probable that 
Gutenberg printed so large a number. 
Unbound copies were sold at different 
times and places, not long after publica- 
tion, for various sumsranging from twelve 
guilders to sixty crowns.! It does not 
appear that the books provoked any en- 
thusiasm: no chronicler of that time 
thought it worth while to give them 
even a passing mention. "We have to 
suppose that they attracted no more 
attention than the books of a copyist. 
It appears, also, that the Bible of 42 
lines, from a mercantile point of view, 
was a very unsuccessful enterprise. This 
is the evidence. 

On the sixth of November, 1455, Fust 
brought a suit for the recovery of the 
money advanced to Gutenberg. As Gu- 
tenberg was unable to pay the demand, 
we may suppose that the Bible had not 
been completed, or, had not met with a 
ready sale. The suit of John Fust has 
been the occasion of discordant criticism. 
Dibdin fully justifies his action, and 


1 At the sale of the Perkins library near Lon- 
don, June 6, 1873, a copy of the Bible of 42 lines, 
on vellum, was sold for £3,400, and a copy on 
paper for £2,690—more, no doubt, than’ the 
first printers got for all the copies, 


fod & Ie- 


GEORGE BRUCE'S SON & CO,, Tyre-Founpers, No. 13 Cuampers-StrEET, NEW-YORK. 


je i ee le ee 


Nonearein, No. 16. 


131 


JOHN GUTENBERG AT MENTZ. 


intimates that Gutenberg was really a trickster, who would have defrauded Fust 
if he had not resorted to summary proceedings. The defenders of Fust, who are 
few, haye to admit that he here appears as a keen man of business, destitute of 
sentiment, and of ungenerous disposition. Sympathizers with Gutenberg denounce 
Fust as a cunning schemer, who had made the terms of the partnership rigorous 
with the secret determination to get possession of the invention through G utenberg’s 
inability to keep his contract. 
This is the record of the proceedings before the court : 

“INSTRUMENT of a certain day, when Fust produced an account and confirmed it 
by an oath. In the name of God. Amen. Be it known to all who shall see this 
public document or hear it read, that in the year of our Lord 1455, on Thursday, 
the 6th of November, between eleven and twelve at noon, at Mentz, in the large 
dining-hall (refectorium ) of the convent of pare-footed friars, appeared before me, 
notary, and the witnesses to be mentioned hereafter, the honorable and prudent 
man Jacob Fust, citizen of Mentz, and has, in behalf of Johan Pust his brother, 
also present, shewn, said and exposed, that to the said Johan Fust on the one side 
and Johan Gutenberg on the other, should be administered the oath, according to 
judgment passed on both the parties, and for which this day and this hour had been 
fixed and the hall of the convent assign- 
ed. In order thatthe friars of the said 
convent, who were still assembled in the 


‘d1'TO$S 


WITH 8 TO PICA LEADS. 


JOHN GUTENBERG AT MENTZ. 


Johan Fust has, with raised fingers, in the hands of me, public notary, taken 
the oath by all the saints, that everything was comprised according to truth 
and sentence, in an act which he placed in my hands. He confirmed it on 
oath, as truly as God and the saints may help him; and the contents of this 
document were as follows: 

“T Johan Fust, haye borrowed 1,550 guilders, which have been received by 
Johan Gutenberg, and spent on our common work, for which I have paid an 
annual interest, and still owe a part of it. Therefore, I count for every hun- 
dred guilders which I haye borrowed in this way, six guilders per annum; 
and for the money spent on our common work, I demand the interest according 
to judgment passed. 

“The said Johan Fust demands from me, public notary, one or more public 
acts of this matter, as many and as often as he should want them; and all 
these matters recorded here, happened in the year, indiction, day, hour, papacy, 
month, and town aforesaid, in the pres- 
ence of the honest men, Peter Grauss, 
Johan Kist, Johan Knoff, Johan Yseneck, 


hall, should not be disturbed, the said 
Jacob Fust did ask through his messen- 
ger, whether Johan Gutenberg, or any 
one for him, were present in the convent, 
in order to finish the matter. At this 
message came into the said refectorium 
the reverend Heinrich Gunther, pastor 
of St. Christopher’s at Mentz, Heinrich 
Keffer, and Bertolf yon Hanan, a servant 
of Johan Gutenberg, and when they had 
been asked by Johan Fust whether they 
had been authorized by Johan Guten- 
berg, they answered that they had been 
sent by Junker Johan Gutenberg to hear 
and see what should happen in this case. 
Thereupon Johan Fust begged leave to 
conform to the stipulations of the verdict, 
after he had waited for Johan Gutenberg 
till twelve o’clock, and was still ‘waiting 
for him. He reads the sentence passed 
on the first article of his claim, from word 
to word, with its pretension and response, 
which runs as follows: First, that he, 
according to the written agreement, 
should lend Johan Gutenberg about 800 
florins in gold, with which he was to 
finish the work, and whether it would 
cost more or less was no matter to Fust ; 


and that Johan Gutenberg was to pay six 
per cent. interest for this money. He had 
indeed lent him these 800 guilders on a 
bond, but Gutenberg was not satisfied, 
but complained that he had not yet re- 
ceived the 800 guilders. For that reason, 
Fust, being desirous of doing him some 
service, lent him 800 guilders more than 
he was bound by his contract to do, for 
which 800 guilders Fust had to pay forty 

ilders as interest. And, although 

utenberg had bound himself by contract 
to pay six per cent. interest on the first 
800 guilders, yet he had not done so for 
a single year, but Fust had to pay this 
interest himself to the amount of 250 
guilders. For, at present, Gutenberg 
having. never paid interest, and Fust 
haying been obliged to borrow this in- 
terest from Christians and Jews, for 
which he had paid about thirty-six 
florins, his payments, together with the 
capital, amount to about 2,020 guilders, 
of which he demands reimbursement. 


. 


i SESS 

it Nott 

Vey AS Aaa 
ae 


Jacob Fust, citizens of Mentz; Peter 
Gernsheim and Johan Bone, clerks of 
the city and diocese of Mentz, asked 
and summoned as witnesses. And I, 
Ulrich Helmasperger, clerk of the dio- 
cese of Bamberg, by imperial authority, 
public clerk of the Holy See at Mentz, 
sworn notary, have been present at all 
the aforesaid transactions and articles 
with the witnesses mentioned. There- 
fore, being requested to do so, I have 
signed with my hand, and sealed with 
my common seal, this public act, written 
by another, as testimony and true record 
of all the aforesaid matters.} 
“ULRICUS HELMASPERGER, Notary.” 
The suit brought by Fust was, ap- 
parently, a surprise, for it cannot be 
supposed that Gutenberg would have 
been so completely unprepared to meet 


1 Hessels’ translation, as printed in the Haar- 
lem Legend, pp. 24 and 25. 


his obligation if he had not been led to 
believe that Fust would postpone the 
collection of his claim. The enforce- 
ment of this claim before the book was 
published, or at least before money had 
been derived from its sale—taken in 
connection with the facts that the delay 
in the publication of the book, and 
Gutenberg’s inability to pay his debt, 
were largely due to the delay of Fust 
in furnishing the money as he had 
LS promised—seems to warrant the charge 
S S that Fust meditated the despoilment of 
SY Gutenberg at the formation of the part- 
nership. Gutenberg’s defense before 
the court was very feeble: it is that of 
a man who knew he had no hope of 
success. He did not appear in person, 
but trusted his case to his workmen. 


Thereupon, Johan Gutenberg answered 
that Johan Fust had agreed to lend him 
800 guilders, with which money he was 
-to arrange and make his tools, and that 
these tools should remain as security for 
Fust. But Fust had moreover agreed to 
give him every year 300 guilders for ex- 
penses, and to ‘advance also wages, house-rent, VELLUM, PAPER, INK, etc. Tf, after- 
ward, they did not agree, Gutenberg should then pay the 800 guilders back, and 
the tools should be free from mortgage ; it should be understood, that with the 800 
ilders he had to make the machine, which was to be a pledge. He hopes not 
that any one shall pretend] that he was obliged to spend these 800 guilders on the 
work of the books {%. €., on vellum, paper, ete.) And, although it is said in the 
contract that Gutenberg was to pay six per cent. interest, Pust had told him that 
he had no intention of accepting this interest from him. Moreover, he had not 
received the 800 guilders in full and at once according to agreement, as Fust had 
pretended in the first article of his claim; and as for the second 800 guilders, he is 
ready to give an account of them, but declines to give him interest or usury for 
them, and hopes he is not bound by law to pay them. We pass, therefore, sentence 
according to pretension and response: When Johan Gutenberg has submitted an 
account of all receipts and disbursements spent 07 the work to thetr common profit 
i. €., printing], this work shall be added to the 800 guilders; -if he has spent more 
than the 800 guilders, which did not belong to their common profit, he should pay 
it back; if Fust is able to prove, on oath or by witnesses, that he has borrowed the 
money on interest, and did not lend it out of his own resources, then Gutenberg is 


pound by contract to pay it. ae 
. oH, after this Greco had been read in presence of the aforesaid witnesses, 


“d1TOS 


[From Lacroix. J 


John Gutenberg.... From an Old Print in the National Library at Paris. 


ADS. 


uv} 


WITH 8 TO PICA LEI 


Fust was more adroit; he was voluble 
and positive, and his relative, Jacob 
Fust, was one of the judges. But the 
fates were against Gutenberg: the hard 
terms of the contract he had signed 
compelled an adverse decision. 

That Fust did Gutenberg a grievous wrong is very plain; that Gutenberg 
had managed the business of the partnership with economy and intelligence is 
not so clear. At no period of his life did the great inventor show any talent 
for financial administration. He was certainly deficient in many qualities that 
should be possessed by a man of business, and Fust may have thought that he was 
fully justified in placing his money interests in the hands of a more careful 
manager. This, a copy of the oldest engraying known of Gutenberg, presents 
him to us as a man of decided character, not to be cajoled or managed by a 
partner in business. The thin curving lip and pointed nose, the strongly marked 
lines on the forehead, the bold eyes and arrogant bearing of the head reveal 
to us a man of genius and of force, a man born to rule, impatient of restraint, 
and of inflexible resolution. We haye but to look at the portrait of Fust to 
see that he, also, was accustomed to having his own way, and that he and 
Gutenberg were not at all adapted to each other as partners. 

But Fust would not have broken with Gutenberg if he had not been pre- 
pared to put a competent successor in his place. In Peter Scheffer, a young 


nnn EEE 


GEORGE BRUCE’S SON & CO., TyPE-FOUNDERS, No. 13 CHamBrrs-STREET, NEW-YORK. 


of 


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1382 


Nonparsint, No. 16. 


JOHN GUTENBERG AT MENTZ. 


man twenty-six years old, who had been 
employed in the printing office, Fust dis- 
cerned an intelligent workman who gave 
promise of ability as a manager. Schcef- 
fer, who then hoped to win the hand of 
Fust’s daughter Christina, was, no doubt, 
more complaisant than the irascible Gu- 
tenberg. As he was afterward married 
to her, it may be thought that she ap- 
proved his suit in its beginning, and that 
her influence with her father was used 
to its utmost in favor of the removal of 
Gutenberg and the advancement of 
Scheeffer. It was fully understood by 
the three conspirators that Gutenberg 
could make no proper defense; it was 
determined that he should be expelled 
from his place in the partnership and that 
Schceffer should succeed him in the man- 
agement of the printing office. When 
everything had been arranged, Guten- 


berg was summoned to appear before 
the court. 

The plot was successful in all points. 
Fust won the suit almost without a strug- 
gle: under the forms of law, he took pos- 
session of all the materials made by Gu- 
tenberg for the common profit, and re- 
moved them to his own house. With the 
types, presses and books went also many 
of the skilled workmen, and Peter Scheef- 
fer was at their head. From an equi- 
table point of view, Fust was amply 
recompensed. He got the printing office 
that he coveted, and, with it, the right 
to use the newly discovered art of Guten- 
berg. It appears that he was content. 
There is no evidence that he afterward 
made any attempt to collect the claim, 
which was, legally, unsatisfied even after 
the surrender of Gutenberg’s printing 
materials and the printed books. 


De dninita mia ottanam as 
frenhoms dymimt, 


Dominica prima polt 61 afcenhidis 6m 


- 


offcitt diincaleExaudruptohy ci fulFragrs 
suoly Alla F eqntia-et pfacde & felto afcen 
fionis necnd Glia m ercelfis Creéo et tennfe 


fa Ofticaltter Srectun. 


AAHCHDEFEHTILMROP PAR 


SISTTDHS. 


Fac-simile of the Types of the Treatise on the Celebration of the Mass. 
[From Fischer. ] 


XXII 


THE LATER WORK OF GUTENBERG. 


Establishes a New Printing Office... C 
was printed at this time... Gutenber 
with Fac-simile...Catholicon of 1460, with F; 
berg to Fame. 

Mirror of the ¢ 


Jalendar of 1457, 
Embarras 


Pamphlets attributed to Gutenberg... Celebration of the Mas: 
y 


. Not probable that the Bible of 36 lines 
y Debts... Letter of Indulgence of 1461, 
e-simile and Colophon... Indifference of Guten- 


’ srit acknowledged 


by writers of his Time... Tablets of Gelthus and Wittig... Permanency of Gutenberg’s Invention. 


Why should we talk about monuments of bronze or marble to commemorate the services of Guten- 
berg? His is a monument which, more frail than any other, will survive them all: itis the 


Book.—Madden, 


GUTENBERG had been legally deprived 
of his printing office and of the exclusive 
right to his great invention, but he was 
not left friendless and utterly impover- 
ished. Nor was his spirit broken by this 
great calamity. The reflection that Fust 
was owner of the materials made for 
printing the Bible of 42.lines, and was 
about to enjoy all the emoluments of the 
new art, aroused Gutenberg to rivalry. 
He was nearly sixty years of age, but 
he was vigorous in mind, if not in body, 
and evidently retained all his old power 
of persuasion. When he determined to 
found a new printing office, he found 
helpers: Conrad Humery a physician, 
and also clerk of the town of Mentz, pro- 
vided him with the means, and some of 
his old workmen came over to join his 
fortunes. ‘ 
Gutenberg had some materials toward 
the equipment of a new office. Fust’s 
mortgage covered only the materials 
made with Fust’s money for the common 
profit; it did not cover the large types 
on Double-pica body, which were used 
upon the Bible of 36 lines, and other ma- 


terials which might haye been made in 
Strasburg. As these types were sub- 
sequently used in several little books 
which may be attributed to Gutenberg, 
we may conclude that he retained the 
punches and matrices in his own pos- 
session. 

We have indirect evidence that the 
new printing office of Gutenberg was in 
operation at the close of the year 1456. 
With the types of Double-pica body he 
printed on one side of the paper, ob- 
viously made to be pasted on a wall, a 
broadside, now known as the Calendar 
of 1457. Of this curious document, only 
the half of a copy has been found—a 
fragment which contains the festivals 
and notable days for six months. It is 
fairly printed in black ink on coarse paper. 

It is the belief of several historians that 
Gutenberg, hot with anger at the bad 
faith of Fust, in wresting from him the 
honor of printing the first Bible, immedi- 
ately undertook in his new oflice to pub- 
lish a rival edition of the same book, or 
the edition herein described as the Bible 
of 36 lines. The annotation in one copy 


“aI'TOS 


‘GITOS 


WITH 7 TO PICA LEADS. 


WITH 7 TO PICA LEADS. 


THE LATER WORK OF GUTENBERG. 


of the book of the year 1459, which is 
supposed to be the date of publication, 
accords with the conjecture that the book 
begun in 1456 could have been finished 
in three years. But there is no evidence 
that it was begun in 1456, while there 
are many indications that it was done or 
should have been done in 1450. Guten- 
berg had earned fame as a printer in 1458, 
put no writer of that time has said that he 
was then at work on the Bible of 36 lines. 

Philip deLignamine, in a book entitled 
A Continuation of the Chronicles of the 
Popes, which he printed in Rome in 1474, 
writes concerning the year 1458: ‘‘ Jacob 
Gutenberg of Strasburg, and another 
called Fust, very skillful in the art of 
printing with characters of metal on 
parchment, each printed three hundred 
leaves daily at Mentz.” Jacob is an 
error of memory or of typography, and 
the mention of Strasburg as Gutenberg’s 
birthplace is incorrect, but the statement 
that he printed in 1458 is, no doubt, true. 
It seems the testimony of a printer, 
whose knowledge of the facts had been 
derived either from personal observation, 
or from the reports of workmen once em- 
ployed at Mentz. 

We have evidence, also, that he was 
embarrassed by his debts. After the year 
1457 he was unable to pay the four pounds 
annually to the chapter of St. Thomas at 
Strasburg, as he had agreed to do in 1442. 
The chapter summoned him to appear 
before a court at Rottweil in Suabia, in 
1461, but to no purpose, for he was un- 
able to satisfy this debt. His printing 


materials were owned by Conrad Hu- 
mery, and not liable to seizure. It is by 
no means clearly established that he was 
even then, carrying on business in his 
own name. Helbig thinks it was the 
fear of legal proceedings, if he had made 
himself very conspicuous, that prevented 
him from putting his name on his books. 
This omission has made it difficult to 
specify the books and pamphlets which 
are supposed to haye been printed by 
him about this time. 

One of these works is The Letter of 
Indulgence of 1461, an indulgence grant- 
ed by Pope Pius II to all who should 
contribute to the restoration of a church 
at Neuhausen. It is printed in a new 
face of type, which should have been 
made before 1460. The types of this in- 
dulgence resemble those of the Letters of 
Indulgence of 30 lines and of 31 lines, 
but they were cast from different matrices 
and in a different mould. They seem to 
be the production of an incompetent 
punch-cutter; the letters were rudely 
cut, the matrices were not properly fitted 
up, and the types do not line. The 
presswork, upon new types, is good. 

In the same face of type, but upon a 
body a little larger, Gutenberg printed 
the Catholicon of 1460, a great folio of 
748 pages of double columns, with 66 
lines to each column. This Catholicon 
was written, or edited, as the title in- 
forms us, by John of Genoa, of the fra- 
ternity of preachers or mendicant friars. 
It contains an elaborate Latin grammar 
and an etymological dictionary in five 


THE LATER WORK OF GUTENBERG. 


divisions. It was a text book of authority 
in the higher schools. In some copies of 
the Catholicon, the summary of contents 
is printed in red ink, and ornamented 
with an engraving which fills one side of 
the first page. The composition is as 
rude as that of the Bibles ; the right side 
of each column is always ragged from 
careless spacing. The colophon annexed 
states that the book was printed at Mentz 
in 1460, but it does not give the name of 
the printer. Van Praet says that Guten- 
berg, as a noble, dared not advertise his 
connection with a mechanical art. This 
is absurd, for Gutenberg’s connection 
with printing in Mentz had been known 


for at least ten years, and printing was 
not then regarded as a business deroga- 
tory to the standing of a noble. Wetter 
says that Gutenberg was humiliated by 
the superior workmanship of Fust and 
Schoeffer. But the work of these printers 
was not of such unquestionable superi- 
ority. Helbig’s conjecture seems most 
plausible, but Gutenberg may have been 
so intent on the personal satisfaction 
he derived from the realization of his 
ideas, that he was comparatively in- 
different to the gratification derived from 
notoriety. The silence of Gutenberg 
concerning his services is remarkable, 
all the more so, when this silence is 


Anniliter dicendits eft fi fata eft aliqua ad 
6100 erronea:fictit fult addicd arrijvel fifine 
addicoe imptintte baptiz4s nullomé credat 
fet polfe baptihinit. Shiybabititer subitat’ 
we obmiffis an fint te fubltatia.an & addicde 


= 


an impediiit baptilmii an n6-ad forma codiz 
nale recurratur-que fup pofita etn prima 


Teccie te materia fez de emendadis circa mate 
riam. $1 ti obnnifa funt illa que nd fit de 

ftatia-ut ego.etamé-vel fine orm malitia 
fata ef diminucdyel addicd-vel corp ed ar 


Fac-simile of the Types of The Mirror of the Clergy. 
[From Bernard. ] 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 


THE LATER WORK OF GUTENBERG. 


contrasted with the silly chatterings 
of several printers during the last 
quarter of the fifteenth century, — 
of whom Peter Schoeffer may be 
considered as the first, and Trechsel 
of Lyons the last,—each insisting 
that he, whatever others might 
have done before him, was the true 
perfecter of printing. There is no 
other instance in modern history, 
excepting possibly that of Shakes- 
pere, of a man who did so much 
and who said so little about it. This 
colophon is the only passage in this 
pook, and, indeed, in any of his - 
works, which can be attributed to 
Gutenberg : 

“By the assistance of the most 
High, at whose will the tongues of 
children become eloquent, and who 
often reveals to babes what He 
hides from the wise, this renowned 
pook, the Catholicon, was printed 
and perfected in the year of Incar- 
nation 1460, in the beloved city of 
Mentz (which belongs to the illus- 
trious German nation, and which 
God has consented to prefer and to 
raise with such an exalted light of 
the mind and of free grace, above 
the other nations of the earth), not 
by means of pen, or pencil, or sten- 
cil plate, but by the admirable proportion, 
harmony and connection of the punches 
and matrices. Wherefore to thee, Divine 
Father, Son and Holy Ghost, triune and 
only God, let praise and honor be given, 
and let those who never forget to praise 
[the Virgin] Mary, join also through this 
pook in the universal anthem of the 
Church. God be praised.” ; 

In Germany, the punch or the model 
letter is known as the patrice, a word 
obviously derived from the root of the 
Latin patronarum of the text. The re- 
versed duplicates of punches, here trans- 
lated as matrices, are noticed in the text 
as formarum, a variation of the word 
form, which we find so often in the rec- 


NonpPareiu, No. 16. 


ia 


efte tebebit virelicee g elige po 
g cum ab omib9 Sentenajs ¢ 
ab omib9 crimib9 pct 


mquas nonda incidiffe O 7 
cahb9 ead (cdi aplice refuatis abfolue et plenanea remiMioné aricte 


poflit Sic th p faniFaciat fi alicui p edi fatiffactio 1m ponwoa fi ib et 
vt loco fexte ferie qi aliunee in ila ieiunare renetur afio die in fe 
pictatio iuxta dictamen (ui confefforig maxie ad fabricam Ddicte ec 


Eidat Et in obediecia fedis aplice ac Pfan fern 
pleni9 contiemrjn and 


bulla dicti Ohi pape prj 


Repnhazdue€pm ac Rudolp 
a dicto Ono plo fumo pontih 
ODdillefimoquadrin gentefimofex 


—_ 


bum wcanu i 
ce oft dara facultas pnnbus ¢ 
agefimopzimo 


Fac-simile of the Types of the Letter of Indulgence of 1461. 


ord of the Strasburg trial. ‘‘ The ad- 
mirable proportion, harmony and con- 
nection of the punches and matrices,” 


THE LATER WORK OF GUTENBERG. 


of this colophon, so unlike the vainglori- 
ous imprints of Fust and Schceffer and 
the commonplace subscriptions of Pfister, 
js almost enough of itself to show that the 
printer of the Catholicon was John Gu- 
tenberg. That he should attribute the 
invention to the assistance and favor of 
the Almighty, might be expected from 
a man thoroughly imbued with religious 
sentiment, but why Gutenberg should, 
in this and in all other books, neglect to 
mention himself as the man through 
whom the invention was accomplished is 
an irregularity which cannot be explain- 
ed. This neglect is strange, for Fust and 
Schoeffer had boasted, in an imprint to 
the Psalter of 1457, of their skill as 
printers. 

Five little pamphlets with texts in a 
new face of Round Gothie on English 
body, and with chapter headings in types 
resembling the text types of the Bible of 
42 lines, have been attributed to Guten- 
berg. They are: A Treatise on the Cele- 
bration of the Mass,! a book of 30 
leaves; A Calender, or An Almanac for 
1460, in Latin, a quarto of 6 leaves ; The 


1 This work is attributed to Gutenberg, chiefly 
on the authority of this inscription, which was 
found in a copy in the possession of the Carthu- 
sian Friars at Mentz: 

“The Carthusian Friars near Mentz, through 
the liberality of John Gutenberg, own this book, 
which was made by his wonderful art, and by 
the skill of John Nummeister, clerk. In the year 
of our Lord 1463, on the 13th calend of July 
[June 19).”’ ; 

Helbig doubts the genuineness of this annota- 
tion. and intimates that it may be the work of 
Bodmann, « librarian at Mentz, who has been 
suspected of attempts to foist spurious documents 
on those who were eager to know more of the 
life and labors of Gutenberg. In his treatise on 
the Typographic Monwments of Gutenberg, Fis- 
cher, on the authority of Bodmann, printed the 
copy of a verbose document which set forth that 
John Gutenberg and Frielo Gensfleisch assented 
to the action of their sister Hebeie in conveying 
to the Convent of Saint Clare, of which she was 
then a nun, her share in the paternal inheritance. 
It also recites that John Gutenberg will give to 
the convent a copy of every book to be printed by 
him. This document, which is dated 1459, is not 
accepted as genuine by discreet bibliographers. 


[From Bernard. ] 


duced any work of value, cannot be 
accepted. It is possible, but not certain, 


mi dfi nn pi) pap, 

teftird oium Signilut 
Oo 56=— 

WO2mMAtien P20 bacindy 


it areca) 


133 


THE LATER WORK OF GUTENBERG. 


printed in the types of the Cathol- 
icon, may be confidently accepted 
as the work of Gutenberg. But one 
copy or fragment of some of these 
works is known. Gutenberg may 
have printed many other works 
which have been destroyed and for- 
gotten. Fischer says that a library 
at Mentz once contained several 
pamphlets printed by Gutenberg in 
the large types of the Bible of 36 
lines. He gives fac-similes of the 
illuminated initials in one of these 
pamphlets, which closely resemble 
those of the Psalter of 1457. This 
similarity is more than an indication 
that the letters of this Psalter were 
made by Gutenberg. 

The existing copies or fragments 
of pamphlets and books printed be- 
fore 1462 are enough to prove that 
printing met with a qualified de- 
gree of appreciation. Gutenberg 
and Fust must have given employ- 
ment to many presses and work- 
men: there was a demand for printed 
work of all kinds from almanacs to dic- 
tionaries, and the printers had reason to 
believe that they would be amply re- 
warded for their labor. Their hopes were 
destroyed by the sack of Mentz in 1462. 

The city of Mentz then held the first 
place in the league of the free cities of 
the Rhine, but her prosperity was declin- 
ing. In the tenth and eleventh centuries, 
Mentz, then the capital of Germany, 
contained a population of about 100,000 
inhabitants. It was the most powerful 
city of the empire, the great city where 


THE LATER WORK OF GUTENBERG. 


should be understood, not as a commen- gy that Gutenberg printed these pookes A 
dation of the beauty of the printed letters, Q Treatise on Reason and Conscience, by 
but as a specification by the inventor of <{ Matthew of Cracow, a small quarto of 22 
what he conceived was the great feature ® leaves; a copy of this book in the Na- 
of typography, the making’ of types of O a |. 1 Lib = Eafe iS: F 
different faces and thickness on bodies of < A Ee a Oa ey ae annotation 
absolute uniformity, so that they could & tT Which sets forth that ‘“‘ Henry Kepfer of 
be combined with ease. It should be ° a Mentz put this book in pledge for twelve 
noticed that the invention or the use of days, and has not reclaimed it...” Henry 
isolated letters or types is not boasted of; O™ Keater £G 3 k 
it was the method of making the types Ei eae oe ces Gutenberg's workmen 
which the inventor regarded as the most who appeared for him on the trial; and 
admirable feature of his invention. D A Summary of the Articles of Faith, by 

The dignified and reverential language Thomas Aquinas, a quarto of 12 leaves, 
Mi of the Ct by H f & 

irror 0, e Clergy, by Hermann o: 
Saldis, “happily perfected and printed S the emperors were crowned. In the four- 
at Mentz,” a quarto of 16 leaves; A Trea- f] teenth century, it was so strong that it 
tise on the Necessity of Councils, etc., a +] could send out of its walls 10,000 armed 
quarto of 24 leaves; A Dialogue between PR itizens to destroy the strongholds of 
Cato, Hugo and Oliver about Eeclesias- iS a ee pie xobb ane heihad e rs e it 
tical Liberty, a quarto of 20 leaves. Ber- © ie the noble. robbers) who) hae Taye e as 
nard says that some of these works were 4, commerce. Unceasing civil strifes had 
probably printed by an unknown printer - re) driven away the more feeble part of her 
at i ene punters of se ets & population. In 1461, it was the wreck of 
gence of 31 Vines ) ; but this conjecture o ap its earlier greatness: it had put 50,000 


two printing offices, about which history 
and tradition are silent, which never pro- 


=~ 


inhabitants and was burdened with debt. 


Wer eays lewa exponitir. 


ex legig.d2 a lego.gis.legi oz legitur.Et eft 
ex tie feripti afeifcens bonelti. plaibens cont” 
vit. wl lex ¢ fenpti populo pmulantii magiftra 
tu querenre et populo refpondmn te. Solebat en 
magifter anitatis cum aliqua legem uellet inftitu 
ere afcenzere pulp) titm media concdne et quiere 
apopulo fi uellet ilud vatit eTe.et accepta ritfie 
nea populo wineps p lege habcbaf’.fm hug. 
Et fdas o lego. gis.cor le in pitt § iniprerito 
vod. Vinee lex legis tenct naturain hurus previ 
ti legi.cum primam prod.X%v-flon eect illa leat 


mn 


funt contrana leqi.Oe lege nali udoe in conicia 


JL exis inte Pratuz paufacd uel fermo.et in baz 
barolexis 6 hug. Pap uero diar.Lexis Gree lati 
ne locicd,r.quelibet Alla nf wox gue feribi ocb3 


Fac-simile of the Types of the Catholicon of 1460. 


[From Bernard.] 


Diether, Count of Isenburg, was then 
archbishop and elector of the city, by the 
consent of the majority of the inhabitants ; 
but the rival archbishop, Adolph H, 
Count of Nassau, supported by Pope 
Pius l, claimed the archbishopric, and 
made war upon Diether. The conse- 
quences of the war, which nearly ruined 
the city, are forcibly stated by Schaab. 

“The enmity between two archbishops 
was the cause of one of the most terrible 
days to the town of Mentz. It was the 
28th of October, 1462, the day on which 
Christianity celebrated the anniversary 
of the apostles Simon and Judas. Mentz 
had remained faithful to the archbishop 
Diether. Adolph therefore tried to con- 
quer it by stratagem and treason. Trai- 
tors were gained over in the town, who 
entailed upon a half thousand of their 
fellow-citizens death, and endless misery 
on many more. By the treachery of 
some wicked persons the town was as- 
saulted during the night between the 27th 
and 28th of October, 1462, by the follow- 
ers of Adolph; its noblest citizens were 
murdered, and most of them robbed of 
their possessions, and driven from the 
town. All kinds of mischief were com- 
mitted toward those who remained be- 
hind. Neither age, rank, nor sex was 
exempted. The booty was sold publicly 
in the cattle-market, and the money di- 
vided between the soldiers. Helbig says 
that all the larger houses that had not 
been destroyed by fire were confiscated. 
The booty was divided in three parts: 
Adolph took the first and the best part, 
the nobles of his army claimed the 


GEORGE BRUCE'S SON & OO., TypE-Founprrs, No. 13 Cuampers-Srrenr, NEW-YORK. 


de! 


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SEO alkane 
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134 . NonpareiL, No. 20. 


Tue LATER Work OF GUTENBERG. 


second: the soldiers, ‘a band of mercenary savages,’ took the remainder. (JVotes e¢ 
dissertations, p. 52). Of the expelled citizens only a few gradually returned in secret 
to their relations. But the town, so populous before, remained empty, and all in- 
dustry was destroyed. ‘The elector Adolph 1 found it necessary, on the Saturday 
after St. Thomas’s day of the same year, to issue a proclamation whereby he promised 
to all who wished to trade or to exercise a profession in Mentz, protection for their 
persons and possessions, to induce a few to return. A town, a short time before flour- 
ishing with commerce and industry, had been robbed in a few days of its privileges 
and utterly destroyed.” as 

In the general sack of the city, the house of Fust was burned, and his printing 
materials were destroyed. During the three years that followed no books of value 
were printed in Mentz. We do not know how Gutenberg was affected: we find no 
authoritative statement that his printing office was destroyed; it is not even certain 
that his officé was then in the city of Mentz. In the year 1466, the printing office 
which contained his types was in active operation at Eltvill, a village not far from the 
city. As this was the place where Gutenberg’s mother was born, and where she had 
an estate, it is probable that Gutenberg found some advantage in making it his resi- 
dence, soon after his separation from Fust. Eltvill was also the place which Adolph 1 
had selected for his residence before he made his attack on Diether. It may be 
presumed that Eltvill was the place where Adolph first knew of Gutenberg and his 
works. 

In 1465, Adolph 11 made Gutenberg one of the gentlemen of his court for “agree- 
able and voluntary service rendered to us and our bishopric.” The nature of the 
service is not defined. Gutenberg was certainly not a soldier. His German biogra- 
phers do not believe that, as diplomatist or politician, he favored the cause of the 
destroyer of the liberties of his native city. Helbig thinks the words used are purely 
conventional and that this distinction was conferred on Gutenberg because he was 
connected with the old nobility of the city. It is a more common and a more reason- 
able belief that Adolph recognized, to some extent, the utility of Gutenberg’s inven- 
tion, and took this method to honor the inventor. 

‘“Wr, Adolph, elected and confirmed archbishop of Mentz, acknowledge that 
we have considered the agreeable and voluntary service which our dear and faithful 
Johan Gutenberg has rendered to us and our bishopric, and have appointed and accept- 
ed him as our servant and courtier. Nor shall we remove him from our service as 
long as he lives: and in order that he may enjoy it the more, we will clothe him every 
year, when we clothe our ordinary suite (wwsern gemeinen hoffgesind), always like 
our noblemen, and give him our court dress; also every year twenty mout of corn and 
two voer of wine for the use of his house, free of duty, as long as he lives, but on con- 
dition that he shall not sell it or give it away. Which has been promised us in good 


faith by Johan Gutenberg. Eltvill, Thursday after St. Antony, 1465.’’! 


1Schaab says that an aristocratic appoint- 
ment at the court procured this nobleman a 
comfortable life. Voluntarily he followed the 
princely court, where he had a free table and 
fodder for his horses. Even for his dress he 
received cloth in the court colors, and gener- 
ally wore a kind of mantle, called Tabard. It 
was in accordance with the morals of that time 
to carouse at court. They went there with 
empty cups and returned with full ones. The 
princes tried not before the sixteenth century 


to put a check to this excess by special orders. 
The elector Johan Schweikard von Kronen- 
berg ordered, even in the year 1605, to leave 
the grossen Saumagen— this was the name of 
the cups then used — for the future at home. 
However comfortable and Germgn-like all this 
may look, miserable were these court-wages, 
this dress, these alms presented to the inventor 
oftypography. Butno, itis perfectly in harm- 
ony with the general course of earthly things. 
Van der Linde, Haarlem Legend, p, 29. 


Tue Later Work or GUTENBERG. 


The man who had invented an art which promised to renew the literature of the 
world, who had printed two great Bzbles, a Latin Dictionary, and many minor works 
relating to religion, had surely rendered service to the first ecclesiastical dignitary of 
Germany. 

Here Gutenberg’s work ends. If not disqualified by the infirmities of age from the 
management of his printing office, his position as courtier must have compelled his 
attendance at the court of the archbishop. Possibly, the rules of the court required 
Gutenberg to withdraw from business. Whatever the reason, we see that the printing 
office at Eltvill passed into the hands of his relatives by marriage, the brothers Henry 
and Nicholas Bechtermiintz. It does not appear that these men had been formally 
instructed as printers in Mentz. As they acquired no rights of proprietorship in this 
office, as they were men of middle age, rich, of noble birth and of high civic position, 
it may be supposed that they took charge of the office to oblige Gutenberg and the 
archbishop, and, perhaps, from a pure love of the new art. 

In the year 1467, this printing office at Eltvill produced a book now known as the 
Vocabularium ex guo, called so because these first words of the work serve to dis- 
tinguish it from other vocabularies. It is an abbreviation of the Catholicon, and for 
that reason is described in the colophon as an ofuscudum, or a little work; but it is a 
heavy quarto of 330 pages. It is printed with the types of the Catholicon, and shows 
the same peculiarities of composition. The colophon says that ‘this little book was 
made, not by reed, nor pen, nor stencil plate, but by a certain new and subtle inven- 
tion. ...by Henry Bechtermiintz, of blessed memory.!.... Nicholas Bechtermiintz, 
and Wygand Spyess.of Orthenburg.”’ 2 

Gutenberg could not have abandoned his printing office with much regret. He had 
abundantly demonstrated the utility of his invention and his own ability as a printer 
by the publication of two great books and many pamphlets. His art had been adopted 
in five German cities: it was then making its entry in Rome; it was eagerly sought 
for by the king of France. A future of unbounded popularity and usefulness was 
before it. The young men to whom Gutenberg had taught the practice of printing 
had so improved that they were his equals and superiors, and the old man of quite 
seventy years could not cope with these competitors. His ambition for pre-eminence 
in his own art, or for the wealth that should have been derived from its practice, if he 
ever had such aspirations, had to be given up. It was time that he should quit the stage. 

Gutenberg did not long enjoy the leisure or the honors of a courtier. In February, 
1468, he was dead. Nothing is known of the cause or the circumstances of his death, 
nor is there any mention of a surviving family. We have to conclude that John Gu- 
tenberg, the inventor of the greatest of modern arts, died, weighed down by debts, 
and unattended by wife or child. The disposition of his printing office is stated in 
the following document: 3 

_ “I, THE undersigned, Conrad Humery,‘ doctor, acknowledge by this writing, that 
his eminence the prince, my gracious and dear lord Adolphus, archbishop of Mentz, 


1 Henry Bechtermiintz had died before the 
book was finished. 

2The Vocabularium ex guo was reprinted 
by Nicholas Bechtermiintz, in the same types 
and in the same form, in the years 1469, 1472, 
and 1477-_ Only one copy is known Gris first 
edition of the book. 

3From the preface to a curious and little- 
known poem entitled Lxcomion Chalcogra- 
phiez, by Arnold Bergellanus, as reprinted by 


GEORGE BRUCE’S SON & CO., TypE-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


Wolf in his Monumenta Typographica, vol. 1, 
page 5. 

4It appears from this, that Humery, who 
owned the printing office, had neglected to 
properly record or establish his title. It was 
through the grace of the archbishop, who un- 
derstood the matter, that he was spared the 
trouble of re-establishing his right by legal 
process, 


‘a1'los 


‘dGI'IO$ 


WITH 7 TO PICA LEADS. 


WITH 7 TO PICA LEADS. 


Tue LateER Work OF GUTENBERG. 


has generously delivered to me certain formen [matrices or moulds], characters [types], 
instruments, utensils, and other implements connected with printing, which John Gu- 
tenberg left after his death, which materials belonged and still belong to me: but, for 
the honor and the satisfaction of his eminence I am bound, and I pledge myself, 
by this document, never to put them to use but in the city of Mentz, and further 
to sell them, at a fair price, to a citizen of Mentz in preference to any other. 
In testimony whereof, I have put my seal to these presents, which have been 
made in the year of our Lord 1468, on the Friday after Saint Matthew’s day 
{26th of February].” 

In this strange document we again find the word /ormen, and the jormen are 
specified first, as if they were the most valuable tools. As types are specifically 
described, it is plain that these /ov7en mst have been matrices or moulds. 

Humery kept his word. The types and tools of Gutenberg remained with 
Nicholas Bechtermiintz until his death. They were then transferred to the 
custody or the possession of the Brothers of the Life-in-Common, who had a 
printing office at Marienthal, near Eltvill, as early as 1468. That this place was 
regarded as a part of Mentz may be inferred from the imprint they put on their 
first book, which is to this effect: Dated in our city of Mentz on the last day 
of August, 1468. Eltvill was the chosen residence of the archbishop, and under 
his jurisdiction, and might properly be considered as a dependency or a part of 
the city of Mentz. 

For some unknown reason these Brothers of the Life-in-Common made no use 
of the types of Gutenberg. In the year 1508, they were sold to Frederic Hau- 
man of Nuremberg, who established a printing office in Mentz, and who used 
these types in many of his books.! The house that had been occupied by 
Hauman as a printing office was subsequently used for the same purpose by 
Albinus, a printer of the seventeenth century. The types of Gutenberg were in 


1One day when I was reading this interest- 
ing passage [of Bodmann, concerning the 
types of Gutenberg], the idea presented itself 
to me that it would be well to examine with 
care a certain volume printed by Frederic Hau- 
man, which was in a neglected corner of my 
library. I took it up, not thinking that I should 
make any discovery. I] knew that the last pro- 
ductions of the presses of Nich. Bechtermuntz 
were printed with other types than those 
of Gutenberg, and that, among the known im- 
pressions of the Brothers of the Life-in-Com- 
mon at Marienthal, none were executed with 
these characters. But judge of my astonish- 
ment, of my joy, perhaps, when I recognized 
in this neglected book not only the types of the 
Catholicon of 1460, the only ones appertaining 
to Gutenberg that could have been employed 


in the books that proceeded from the presses 
of Eltvill, but also the types that had been 
used in the Letters of Indulgence of 1454 and 
1455, in the Appeal against the Trrks of 1455, 
the Calendar of 1457 described by Fischer, 
the Bible of 36 dimes, and all the characters of 
Albert Pfister — or, to be brief,— when I recog- 
nized the most ancient types of John Guten- 
berg. Helbig, Ue découverte pour l'histoire 
de Limprimerie, p. 4. 

Helbig gives a list of seven books, of little 
value, printed by Hauman, in these types of 
Gutenberg. He expresses his astonishment 
that they had not before been identified, but 
he offers no explanation of the singular fact 
that these types were not used by any printer 
between 1469 and 1506. 


Tue Later Work oF GUTENBERG. 


this house at the end of the sixteenth century, for Serarius, in his Azstory of — 


Mentz, says that he had seen them there,! 

Humery’s promise that, in the sale of the printing materials then contemplated, 
he would give preference to a citizen of Mentz, was obviously made at the 
request of the archbishop. It follows that the types of the dead printer were 
then regarded as relics of value of which the city should be proud. ‘This request, 
which would not have been made without occasion, seems to confirm the con- 
jecture that Gutenberg had previously sold the types, or at least the matrices, of 
the Bible of 36 lines to Albert Pfister, of the monastic town of Bamberg. It is 
not probable that the deed of gift would have been clogged with this stipulation, 
if there had been no sale. 

This request of the archbishop is the only evidence we have that Gutenberg’s 
work was appreciated, but the appreciation came when he was dead. No con- 
temporary writer noticed the Bzble of 42 lines, and no one during his lifetime 
suitably honored Gutenberg as a great inventor. The archbishop, who knew the 
merit of the man, and pitied his misfortunes, had not a word to say in the docu- 
ment that made him a courtier of his services as an inventor or printer. 

This indifference or want of perception seems inexcusable, but it was not alto- 
gether without cause. The readers of that time were somewhat familiar with 
printed impressions in the form of block-books, and the Azble of 42 “nes may 
have seemed to them but a block-book of larger size and of higher order. Know- 
ing that engraving, ink, paper, and impression upon surfaces in relief, were used 
in both processes, the ordinary book-buyer could have inferred that type-printing 
was the natural outgrowth of the older and well-known art of block-printing. 
According to this view, Gutenberg invented little or nothing; he did but little 
more than combine some old and well-known processes; he distinguished himself 
more by the great size of his books than by the novelty or merit of his process. 
It is but proper to expose this sophistry, for it is perpetuated to this day in 
several books on typography. 

This grave error did not originate with the first printers, who knew the. full 
difference between type and block-printing. They knew that Gutenberg was 
indebted to the earlier block-printers for a great deal of his knowledge, but they 
knew as well that his system of printing was a great and an original invention, 
for they clearly understood, what the ordinary book-reader did not, the value of 
its characteristic feature. And here it may be repeated, for the error is common 
and it is necessary to be emphatic, that the merit of Gutenberg as an inventor 
is not based upon his supposed discovery of the advantages of movable types, 
but upon the system by which he made the movable types. All the printers 

Helbig, Une découverte pour l'histoire de U’imprimerie, p. 4, note. 


NonpareEIL, No. 20. 135 


’ Tue LATER WorK OF GUTENBERG. 


of that period recognized the fact that Gutenberg’s method of making the types, 


or the type-mould, with its connections, was the proper basis or starting-point of 


the invention, Schceffer, who first printed a notice of the new art, speaks of it 


as the “masterly invention of printing and also of type-making,” implying that the 


art of printing was inseparably connected with that of type-making. John Gutenberg, 
in the Catholicon, has not a word to say about isolated types, nor about a combination 


of types: the admiration which he invokes for the masterly invention should, in his 
view of the matter, be bestowed on its system of making the types, or on the “ admir- 
able proportion, connection and harmony of the punches and matrices.” 

Gutenberg made no effort to secure for himself his rightful honors as the inventor 
of printing, but his friends who knew the nature and value of his services were not 
neglectful. We have abundant evidence that Gutenberg was the man, and Mentz 


the place, where printing was invented. 


Trithemius, from mformation furnished by Peter Schceffer, said, in a book written 
before r490, ‘‘About this time (1450), the admirable and then unheard-of art of com- 
posing and printing books, by means of types, was conceived and invented at Mentz, 
by a citizen of Mentz, named John Gutenberg.” 

Matthias Palmer, in 1474, said that John Gutenberg, a knight of Mentz, had 


invented the art of printing books. 


Ulric Zell’s testimony, given in 1499, is equally explicit. 

Polydore Virgil, in his treatise on /zventzons, says, in the first edition, that printing 
was invented by one Peter [probably Peter Schceffer], but in the second edition ‘of 
1517, he corrected the error, and attributed the invention to Gutenberg. 

Wimpheling, in 1499, wrote and published at Heidelberg some verses praising 
Gutenberg, in which he said, ‘Blessed Gensfleisch! through you Germany is famous 
everywhere. Assisted by Omniscience, you John, first of all, printed with letters in 
metal. Religion, the wisdom of Greece, and the language of the Latins, are forever 
indebted to you.” Two professors at Heidelberg, at an earlier date (1494), had 
written panegyrics on Gutenberg as the inventor of typography, in which he is hon- 


ored above all the great men of antiquity.” 


Two friends of Gutenberg who, no doubt, knew all about his invention, put up 
tablets to his memory, in which his merit as an inventor is distinctly acknowledged. 
The inscriptions on these tablets have not received the attention which they merit. The 
tablet first placed was put up not long after his death by his relative, Adam Gelthus, 


near his tomb in the church of St. Francis. 


This is a translation of the inscription: 


‘To John Genszfleisch, inventor of the art of printing, and deserver of the highest 
honors from every nation and tongue, Adam Gelthus places this tablet, in perpetual 


commemoration of his name. His remai 


Francis of Mentz.% 


ns peacefully repose in the church of St. 


Gelthus properly describes Gutenberg’s invention as the art of printing. Ina 


1See pages 107 and 108 of this book. 

2Many authors who do not mention Guten- 
berg speak of Mentzas the city in which print- 
ing was first practised. Van Laar, at Cologne, 
in 1478; Caxton, at Westminster, in 1482; the 
archbishop Berthold of Mentz in 1486; Mey- 
denbach of Mentz in 1494—these are a few of 
the many writers who have certified to this fact. 
A cloud of witnesses, says Van der Linde, join 
in the song of Celtes: ‘You wind yourself, 
already, O broad-waved Rhine! to the town 


of Mentz, which first of all printed with metal 
letters.’? Vander Linde, Haar. Legend, p. 32- 

3In the year 1742, the Jesuits, who then had 
control of the church of Saint Francis, tore it 
down in order to rebuild another edifice upon 
the same ground. The tablet and the tomb of 
Gutenberg were destroyed. The inscription 
on this tablet was published for the first time 
in a book printed by Peter Friedburg at Mentz 
in the year 1499. Helbig, Notes et disserta- 
tions, Pp. 10. 


Ture Later Work OF GUTENBERG. 


practical view, there was no other, for block printing was not regarded as book 
printing. Equally instructive is the pithy inscription on the second tablet, which 


was put up by Ivo Wittig,! in the court of t 


he house of the Gensfleisch family, where 


Gutenberg is supposed to have died,” and which was then used as a law school. 
“To John Gutenberg, of Mentz, who, first of all, invented printing letters in brass 


Ee ices and moulds], and by this art has 


deserved honor from the whole world, Ivo 


ittig places this stone in commemoration, t Bogus . 
Ivo Wittig, who had probably known Gutenberg, and who clearly understood his 
rocess, is not content with a paraphrase of the Gelthus inscription. In plain words, 
e specifies the key of the invention: Gutenberg, first of all, made types in brass 
moulds and matrices. In other words, it was only through the invention of the type- 
mould and matrices in brass that printing became a great art. This inscription shows 
that Wittig, then professor of history in the University, and probably the most learned 


man in Mentz, regarded John Gutenberg 


as the true inventor of printing. 


Considered from a mechanical point of view, the merit of Gutenberg’s invention 
may be inferred from its permanency. His type-mould was not merely the first; it 
is the only practical mechanism for making types. For more than four hundred years 
this mould has been under critical examination, and many attempts have been made 
to supplant it. Contrivances have been invented for casting fifty or more types at one 
operation; for swaging types, like nails, out of cold metal; , for stamping types from 
cylindrical steel dies upon the ends of thin copper rods—but experience has shown 
that these and like inventions in the department of type-making machinery are im- 
practicable. There is no better method than the first. Modern type-casting machines 
have moulds attached to them which are more exact and more carefully finished, 
and which have many little attachments of which the inventor never dreamed, but in 
principle and in all the more important features, the modern mould may be regarded 


as the mould of Gutenberg. 


Gutenberg’s merit as an original inventor, although never properly recognized 
during his life, was never denied. But this merit was disallowed and set aside after 
his death by the sons and friends of Peter Schceffer. They said that printing was 
only half invented by Gutenberg, and that the complete invention 1s really due to 
Gutenberg’s assistant and successor. ‘As this claim has been repeated by many 
authors, it is necessary, for the vindication of Gutenberg, to review the work and 
workmanship of Peter Schoeffer and John Fust. 


Ivo Wittig, was an ecclesiastic of eminence, 
chancellor and grand rector of the University 
of Mentz, to which he gave his large library 
of books and manuscripts. When the Swedes 
approached Mentz, this precious library was 
removed. Unfortunately, it was put on a boat 
of the Rhine which was wrecked, and his rare 
collection of books was lost. Helbig says it is 
an irreparable loss, for Wittig was deeply in- 
terested in printing, and his collection, no 
doubt, contained materials of the highest im- 
portance concerning its history. 

2Thisis anerror. This house is not connect- 
ed with the history of printing in any other 
way than in being the residence of Gutenberg 
when a child. When the Gensfieisch family 
were sent or went in exile, there houses were 
confiscated. It is not probable that Gutenberg 
died in the house bearing his name. E 


GEORGE BRUCE’S SON & CO., 


3The Jesuit Serarius says that he saw this 
tablet one hundred years after it was erected. 
Between 1632 and 1636, when the Swedes were 
in Mentz, this house was sacked, but the tablet 
was spared. In 1741, it was taken down and 

laced in the wall in the court of a house be- 
Forisine: to the DE ie But this monument, 
which escaped the barbarity of the Swedish 
soldiers, was destroyed by the conscripts of the 
French republic, who were lodge in this 
house between the years 1793 and 1797. Hel- 
big says it is probable that these ruffians sus- 
pected John Gutenberg of aristocratic tenden- 
cies. They did not know that the old citizen 
of Mentz was, unwittingly, the leader of all 
democrats, revolutionists and reformers, the 
man above all others, who, by his invention, 
had paved the way for the French revolution. 


“dTI0$8 


‘aITOS 


WITH 8 TO PICA LEADS. 


WITH 8 TO PICA LEADS. 


XXIII 
THE WORK OF PETER SCHEFFER AND JOHN FUST. 


Schceffer a Copyist at Paris in 1449... Fac-simile of his Writing... Enters the Service of Gu- 
tenberg... Psalter of 1457, with Fac-simile of Types and Initials in Colors... Accurate Regis- 
ter of Initial made by Painting the Cut... Evidences of Painting... Fac-simile of Colophon 
in Colors... Different Theories concerning the Method of Printing... Scheeffer’s First Claim 
as an Inventor...Psalter probably Planned by Gutenberg... Fac-similes of the Types of 
the Rationale Durandi and of the Bible of 1462... Trade-Mark of Fust and Scheeffer... Fac- 
simile of the Types of the Constitutions... Jenson’s Mission to Mentz... Printing not a 
Secret... Death of Fust... Partnership of Schceffer and Conrad Fust... Fac-simile of Types 
of 1468...Schceffer becomes a Judge... Scheeffer’s Claim to the Invention of Matrices. 
Statements of John Scheeffer and of Trithemius... Their Improbability ... Statement of Jo. 
Frid. Faustus...Its Untrustworthiness. 


The man who enters the service of Gutenberg and Fust at Mentz after 1450, when the invention 
was completed, and has yet the courage to declare in 1468, that he, Petrus, entered first of 
all the sanctuary of the art, is, notwithstanding all his technical ability as a typographer, a 
bragger, against whose information we ought to be on our guard. Vax der Linde. 


Prerer SCHEFFER was born at Gernszheim, a little village situated on the Rhine, 
near Mentz, about the year 1430. Before he was twenty years of age, he was 
copying books at Paris, as is clearly enough shown in the colophon of an old 
manuscript book, which says that “this book was completed by me, Peter, of 
Gernszheym, or of Mentz, during the year 1449, in the most glorious University 
of Paris.” This isolated fact is the only authority for the assertion that Scheffer 
was a calligrapher, engaged by Gutenberg to design the letters and ornaments 
of the Bible of 42 lines. He may have been qualified for this service, but the 
thin letters and angular ornaments of his colophon are not like the thick types and 
flowing lines of Gutenberg’s Bible. Like all poor students of his time, Scheeffer 
was a copyist, but we have no evidence that he was a calligrapher or an illumi- 
nator, As a student of the University of Paris, he was qualified to read and 
correct proofs of a Bible in Latin, and this may have been the duty for which he 
was engaged. If so, he was not really needed in the printing office until the 
types were founded, or until 1453; but whether he came then or before, it is 
obvious that he entered the printing office as a boy from school, and that all he 
knew of printing was taught him by Gutenberg. He proved an apt scholar. 
Fust’s confidence in his ability is enough to show that he had added skill to his 
knowledge, and that, when Gutenberg departed, he was competent to supervise 
and manage all the departments of the printing office. 


Tue Work oF SCH@FFER AND Fust. 


wey : 
SAS Bernard thinks that Schceffer’s first work in 


his new place was to change the appearance 
of the Bible of 42 lines’ by the cancellation 
of eight pages of 42 lines, and the substitution 
of pages of 4o lines, with summaries printed 


in red ink. The extraordinary licence then 

fe enjoyed by copyists allowed the compositor to 

ue A abbreviate the words of a manuscript copy of 
iit WwW 42 lines, until they were crowded into the space 
+ of 40 lines. The page was made of full length 


by leading out, or by widening the lines with 
bands of stout parchment. 

The first book published by Fust, after his 
separation from Gutenberg, was the Psalter? 
of 1457, a folio of 175 leaves, which is almost 
as famous as the Bible of 42 lines. Only 


nouelomneD 


seven fair copies of the edition of 1457 are 
known, and all of them are on vellum. The 
J l apuna leaves of this book are nearly square, smaller 
co i phe 3 in size than those of the Bzble of 42 lines, 
Til * but, like that book, they are made up, for the 
> most part, in sections of ten nested leaves. The 
° nlo, size of the printed page is irregular, but most 
< pages are about 8 inches wide and 12 inches 
| . high. ‘The Psalms are printed in types of 
Double-paragon body, and the introductory or 
pi connecting text in types of Double-great-primer 
body. As the cut or fashion of these types 
Reduced Fac-simile of a Colophon is like that of the Bibles of Gutenberg, it is 
written by Scheffer. possible that they were designed by the same 
[bagi a hand. The leaf was not broad enough for the 
1 Bernard's Se as to the reason for their types from dictation, not seeing the man- 
this change are plausible. Hesays: Thesales uscript copy, made their abbreviations without ~ 
of the Bzd/e had not beenso great as Fust had uniformity, and, as a necessary consequence, 
expected. Envious copyists had probably fos- produced pages of unequal length. This ex- 
tered a prejudice against the printed Bible as planation is quite as reasonable. 
purely mechanical copying, and for that rea- 21t could, with more propriety, be called a 
son, or on account of its known errors, inferior ritual. The psalms are sliced by prayers, col- 
to the ordinary manuscript. Fust hoped to lects, litanies, the service for the dead, hymns, 
remove these objections, and to attract pur- etc, But it is always described as a psalter. 
chasers by giving the unsold copies the ap- 3 The rubricated capital letters on the larger 
pearance of a new edition. Madden does not body, which are very large and square, might 
accept this hypothesis. He thinks that the two be regarded as another incomplete font, for 


kinds of copies were composed at the same which small letters had not been provided. 
time by different compositors, who, setting 


le SS SS SS eee 


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136 


NonpPAREIL, No. 20. 


Tue Work oF SCHEFFER AND Fust. 


large-sized types, but a very large por- 
tion of it was given up to the initial letters 
and their pendants, which are of unusual 
dimensions. The space allotted to the 
print is small: but a few lines of the large 
types could be put on a page, and on many 
pages it was necessary to use small types. 
The fault of uneven or ragged outline on 
the right side of the page, which has been 
noticed in the Bzble of 42 lines, is repeated 
more strikingly in the Psaltey.! Here 
and there spaces were made for plain 
chant notes of music, parts of which ap- 
pear in printing ink, while other parts 
seem to have been retraced with a pen. 

It is obviously an imitation not only of 
the copyist’s but of the illuminator’s work 
upon a fine manuscript. It was intended 
that the book should show the full capacity 
of the newly discovered art. Letters and 
lines in red ink are to be found on every 
page, and there are many very large and 
profusely ornamented initials in red and 


1Savage said, before he had critically ex- 
amined the ink of the book: 

“Jt is a curious fact that, under Fust and 
Gutenberg, the process [of printing in colors 
should be carried nearly to perfection; for 
some of the works they printed, both in the 
quality of the ink and in the workmanship, are 
so excellent that it would require all the skil 
of our best printers, even at the present day, to 
surpass them in all respects: and I do not hesi- 
tate to say, that, in a few years after, the print- 
ers were actually superior to us in the use of 
red ink, both as to color and as to the inserting 
of a great number of single capital letters in 
their proper places in a sheet, with a degree 
of accuracy and sharpness of impression that I 
have never seen equaled in modern workman- 
ship.” Decorative Printing, London, 1822, 
pp. 6 and 7. 

After a closer inspection, Savage discovered 
that the red was painted. 

“Papillon declared that the red ink was of 
the most perfect beauty. Chatto said that this 
earliest known production [of the press of Fust 
and Scheeffer] remains to the present day un- 
impaired as a specimen of skill in ornamental 
printing. The art of printing was perfected 
by Fust and Scheeffer.”” Jackson and Chatto, 
Wood Engraving, p. 168. 

For illustrations of the First Page of the 
Psalter of 1457 and the Colophon of the Psalter 
of 1457, see Appendix. 


blue inks. To the young reader who is 
accustomed to the severe and colorless 
style of modern printing, the boldness and 
blackness of the stately text types of this 
Psalter, the brightness of its rubrics, and 
the graceful forms of its two-colored ini- 
tials, are really bewildering. They lead 
him to the belief that the workmanship of 
the book is of the highest order. This has 
been the opinion of many eminent au- 
thors; the Psalter of 1457 has been call- 
ed the perfection of printing. 

The initial letter B, the largest in the 
book, which is at the beginning of the 
first Psalm, Beatus vir, has been often 
reproduced, and commended as an ex- 
ample of skillful engraving, brilliant color 
and faultless register. The design is beau- 
tiful and admirably fitted for relief print- 
ing, but it is not in the Gothic or German 
style: the palm leaf fillet-work is oriental, 
and was probably copied from some Span- 
ish manuscript, the illuminator of which 
had been taught in the moorish schools. 
In a few copies, the letter is red and the 
ornament is blue; in other copies the col- 
ors are reversed. In all copies the thin 
white line which separates the red from 
the blue is always of uniform thickness: 
there is no overlapping or meeting of the 
adjacent colors. ‘The register is without 
fault in all the copies. The quality of the 
ink has been greatly praised: we are told 
that the black of the text is very deep and 
glossy, that the red has a vividness of 
color, and the blue a delicacy of tint, not 
to be found in the productions of any 
modern printer. It has been asserted that 
this Psalter is more neatly printed than 
any modern book; that Schceffer, with 
rudely made types, a rough press of wood, 
and with small experience in, or scientific 
knowledge of, ink-making, succeeded in 
producing presswork that has never been 
excelled on modern presses. These bold 
assertions require careful examination. 

The few experts in printing who have 
examined copies of this book have been 
so cowed by the rulings of eminent bibli- 


THE Work oF SCH@FFER AND Fust. 


ographers that they have not, apparently, 
dared to trust their own observation. 
Savage was the first to refuse the dictum 
of authorities and tell us what he saw with 
his own eyes. He distinctly says that the 
blackness of some notes of music was 
made by retracing with a pen! the faded 
lines of a paler printed color. Bernard? 
and Humphreys? plainly say that in the 
fine copy of the Jentz Psalter at the 
British Museum, some lines of text have 
been written in by hand. Humphreys 
thinks that this filling in of lines may have 
been done when the book was published. 
We have here trusty evidence that the 
printing of the Psalter was imperfect: 
that in some places the ink was too weak,4 
and that the deeper color was produced 
by painting the letters with a pen. The 
brilliancy of the black ink has conse- 
quently been unwisely praised, for it is 
a triumph not of printing, but of painting. 

The same observation may be applied 
to the colored ink of the great initials. 
Savage denies the’statement of Papillon 
that the red ink is of the most perfect 

1 He says the ink was dull yellow: On some 
of the leaves where music is given there is an 
appearance as if the oil in the ink had pene- 
trated through the vellum and tinged the op- 
posite side of the leaf with a dingy yellow. 
This had been supposed to be the case, but I 
find that the original tune had been printed 
with a dull yellow ink, and that subsequently a 
different one had been written in over the first, 
with black ink to match the color of the text; 
and so exactly is this effect produced that, if 
it were not for the remains of the printing of 
the original tune, it might pass unsuspected 
of being any other than the production of the 
press. Practical Hints on Decorative Print- 
ing, pp. 49 and 51. 

2 De l’origine, etc., vol. 1. p. 225. 

3 History of Printing, p. 85. 

4Some writers say that the earliest printing 
inks were gum-water colors, which could be 
washed off the vellum with a wet sponge. But 
the ink of the Psa/ter was a true printing ink, 
a smoke-black mixed with oil. The modern 
pressman, who has ineffectually tried to make 
ordinary printing ink stick to parchment im- 
perfectly cleansed of oily matter, will at once 
attribute this failure of the printer of the Psad- 
ter to the oiliness of the vellum and the weak- 
ness of his printing ink. 


beauty: he says that “it is a very heavy 
brick-dust color.” Heineken says it is a 
dull red. A closer examination of the 
book revealed the fact to Savage that the 
initials also had been retraced or painted. 

“JT could not avoid expressing my as- 
tonishment at seeing in some pages two 
distinct red inks: one, the dull color be- 
fore spoken of, and the other, a red which, 
in printing, might fairly be called of the 
most perfect beauty; and I had nearly 
left it with the belief that there were two 
inks, red and blue, used in the printing of 
the book, which, for brilliancy of color, 
would set at defiance all the efforts of the 
present day to equal them. Some acci- 
dental circumstance caused me to view 
the book in a different light, when I dis- 
covered that the beautiful red was not 
printed but written in, so exactly like the 
type that it could only be ascertained by 
the want of indentation in the paper, which 
is invariably produced by pressure in the 
process of printing. By the same means, 
I also ascertained that the fine delicate 
blue was painted. Thus the colors pro- 
duced by printing in the capital letters are 
reduced to two, namely, dull blue and 
dull red.’’1 

It is not difficult to explain this curious 
circumstance. The red and blue printing 
inks first used by Schceffer were so dull 
and faded that he would not suffer them 
to be compared with the brighter colors 
of fair manuscripts. He was compelled 
to brighten the colors by painting. AL 
though sold as a printed book, the Psalter 
was the joint work of the printer and the 
illuminator, and the features which the 
modern bibliographer most admires are 
those made by the illuminator. 

The process employed by the printer of 
the Psalter for securing an exact register 
of the colors was just as irregular. It is 
an error to assume that the two-colored 
initials were printed as similar work is 
now printed, by two impressions. Ber- 


1 Practical Hints on Decorative Printing, 
page 50, 


‘dT'TO$s 


‘daIIO$s 


WITH 7 TO PICA LEADS. 


WITH 7 TO PICA LEADS. 


THe Work oF SCHGFFER AND Fust. 


nard says that the red and the blue blocks 
of the initials, each engraved on a sepa- 
rate piece of wood, were made to fit each 
other, so that the red block should fit 
accurately in the mortised blue block. 
In the process of printing, each block was 
separately inked, but the red block was 
dropped in the mortise of the blue block 
before impression was taken,! After these 
painstaking preparations, exact register 
was inevitable. 

Blades does not accept this explanation. 
He thinks that the engraving for the red 
and the blue ink was done on one block, 
which was not printed with ink, but was 
embossed in the paper as a guide to the 
colorist. He says that his examination 
of the two-colored initials of a Bible made 
by Sweinheym and Pannartz in 1467 
proves that they were not printed, but 
embossed, in the white paper; that the 
paper mask on the frisket was left uncut 
over the engraving, so as to shield the 
white paper from the ink, and to deepen 
the indentation of the engraved lines; and 
that the illuminator made use of this in- 
dentation, as he would of a pencil draw- 
ing, to guide his pen or brush when lay- 
ing on the colors. He further says? that 
a similar operation was carelessly done in 
parts of the Psalter of 1457; that some of 
the spiral lines, finials and ornaments 


1 This method of printing in colors was pat- 
ented by Solomon Henry of Great Britain in 
1786, and in another form by Sir Wm. Congreve 
in 1819, and by him applied to the printing of 
maps. ddridgment of Specifications relating 
to Printing, London, 1859. Improvements in 
machine presses have put out of use these 
methods of printing in colors. 

2 Life and Typography of William Caxton, 
vol. II, p. liii, note. 


were left uncolored, but that the process 
was plainly exposed by the indentation of 
the engraved lines. 

It is not necessary to accept Blades’ 
opinion that the coloring was done entirely 
with pen or brush: the few uncolored 
lines in the initials of the Wentz Psalter 
may be regarded as blemishes occasioned 
by an accidental overlapping of the mask 
on the frisket. Savage’s statement that the 
blocks were printed with ink is too posi- 
tive to be disputed. Nor is it necessary 
to accept the hypothesis of Bernard that 
the blocks were engraved in two pieces 
and mortised, that they might be printed 
by one impression. We may rightfully 
suppose that Schceffer tried to imitate the 
work of the illuminator by the imitation of 
his method. To engrave the initial and 
the ornament around it on one block, to 
paint the letter in one color and the orna- 
ment in another, and to print both colors 
by one impression, seemed the surest way 
to do the work. That this was the inten- 
tion of the designer of the letters is evident 
from the manner in which the colors are 
divided. Contrary to the usage of the 
illuminators, who were fond of interweay- 
ing colors, each color was kept apart in a 
mass, that it might be inked with greater 
facility. And this inking was probably 
done with a brush. Blue ink was painted 
on the letter, and red ink on the ornament, 
at a great sacrifice of time, but with neat- 
ness and without interference of the colors.} 


1 Blades shows fac-similes of the printed work 
of Colard Mansion, in which we see that his 
red and black were printed by the same im- 
pression. Lz and Typography of William 
Caxton, vol. 1, p. 43. Also, plates III & VIII. 


THE Work oF SCH@FFER AND Fust. 


It should not surprise us that exact reg- 
ister was secured, but it was more a feat 
of painting than of printing. 

Setting aside the colors, the workman- 
ship of the Psa/tey! is not neater than 
that of the Bzble of 42 lines. The right 
side of every page is much more ragged? 
through bad spacing; typographical er- 
rors? are more frequent; the lines are 
often bowed or bent in the centre from 
careless locking up. The presswork is 
not good; the pages are dark and light 
from uneven inking, and the types have a 
grimy appearance, as if they had been 
inked with foul balls and printed on over- 
wet vellum. The colophon or imprint 
attached to this book says: 

“This book of Psalms, decorated with 
antique initials, and sufficiently empha- 
sized with rubricated letters, has been thus 
made by the masterly invention of printing 
and also of type-making, without the writ- 
ing of a pen, and is consummated to the 


service of God, through the industry of 


1The modern printer who may regard this 
method of color-printing as perio and waste- 
ful of time, must be reminded that, slow as it 
may now seem, it was a quicker method than 
that of hand-drawing and painting. The differ- 
ence between the old eAne modern process 
of printing in colors will be fully stated, by 
saying that Schceffer printed, probably, but 
forty copies of this initial in one day, and that 
the modern pressman on a machine press 
would be required to produce, from two im- 
pressions, about twenty-five hundred copies 
in one day. Far from being a specimen of the 
skill of the early printers, this initial B is a 
flagrant example of their inexperience and the 
rudeness of their methods. 

2See fac-simile, plate 15, Humphrey's His- 
tory of Printing. 

3 See fac-simile of the Colophon of the Psal- 
ter of 1457, in the Appendix, for the frequent 
transposition of the letters ¢ and c. Also in 
first line of same fac-simile, Preser spalmo- 
rum for Presens psalmorum. 


ee ee 


Johan Fust, citizen of Mentz, and Peter 
Scheeffer of Gernszheim, in the year of 
our Lord 1457, on the eve of the Assump- 
tion, [August 14].”” 

This imprint is ingeniously worded. 
Fust and Schceffer do not say, in plain 
words, that they were the inventors of 
printing; they invite attention to the red 
ink and the two colored initials which were 
here used in printing, with fine effect. 
They speak of rubricated printing and of 
the invention of printing as if they were 
inseparable. They suppress the name of 
Gutenberg, and induce the reader to be- 
lieve that Fust and Schceffer were not only 
the first to print with letters in red ink, 
but the first to discover and use the mas- 
terly invention. This insinuated pretence 
had the effect which was, no doubt, in- 
tended. By manyreaders of that century, 
Peter Schceffer was regarded as a man 
who planned and printed the Psalter, the 
man who made the types, not only of 
this book, but of the Bzble of 42 lines. 
Made bold by the silence of Gutenberg, 
Scheeffer allowed, if he did not positively 
authorize, the statement to be made by 
his friends, that he was the true inventor 
of printing; that he took up the art where 
Gutenberg left it incomplete, and per- 
fected it. 

Before this assertion can be examined, 
it will be proper to consider the date of 1457 
in the imprint of the Psalter. If Schceffer 
planned and printed the book, he did all 
the work in the twenty-one months fol- 
lowing Gutenberg’s expulsion from the 
partnership. _ This is an unreasonable 


GEORGE BRUCE’S SON & CO., Typr-FounpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


exposition, by Durandus, of the services entirely ad There are two kinds of 4 book bearing the imprint of Fust and He ; EM. : , 
hike chuvch Itis a follo of x60 leaves, COPIES one has printed capitals like those "2  Schoeffer between the years 1462 and 1464. is in German, contains 106 lines of Great-prim- 
2columns to the page, in types on English of the Psalter, the other has illuminated + Th 1 1 k ¢ Fus Gs type, and is rinted on a Sheet of the size 
body, 63 lines to Ree anh ‘Tt Fey = = = initials. To provide suitable spaces for these <2) e unemployed workmen of Bust an rege a ce. i when = bon 
y 03 5 as many : SEU: . zee ate Spa — tae : ed Mentz, he issued counter proclamations. 
rubricated letters and lines, and ends with written initials, which are of large size, the Hi Scheffer By exe obliged us leave the city. First of all was a proclamation dated August 8, 
a colophon, in red ink, worded like the Te oh ccc ha tas pacer an = In leaving it, they carried with them the 146x, ae ~ Be en seodeaie III, anaes 
chceffer had been an able calligra- + Bal si i ees cing the deposal of Diether. It was printe: 
1 Fournier thinks that @2Z the letters of the hi I ld h d Se, gre Ke ~ knowledge of the new art, w hich in a few ona half sheet, in German, and in the types of . 
i letters pher, he wou ave demonstrated his © =a : i he Bib 62. The other proclam 
salter were.cut on wood. De l’origine, ete., abil 2 : a, years, they established in all the larger the Bzdde of 1462. The other proc amations 
de Vimprimerie, p. 231. But Bernard says: ability by the production of types of finer = ae were bulls or briefs in Latin, against Diether, 
“ After a careful study of many copies, I de- proportions than those of Gutenberg. If 4 cities of Europe. from Pope Pius 11, dated at Tivoli. All of them 
bene ae — es Z ely printed with he was an expert type-founder, and the o . The war between Diether and Adolph ae 4 Round eothic Ree aneansees 
es of founded metal, and founded, too, with j = = $ c " e first bull warns the people to shun Die 
tabs precision.” De oricine eres pevceion or ee Ope mould, he should have for the possession of the electorate of as they would a pestilent beast; the second 
buts, etc., vol. I, p. 224. ‘ ‘ proved his skill by casting types of neater © Mfentz was the occasion of some curious 'S the warrant for the installation of Adolph ; 
2 The last edition of the book, printed byhis finish. The first types made by him or : ; ; ; the third orders the clergy to obey Adolph; 
son, John Scheeffer, in 1516, shows the great by his order after his separation from Gu- ‘aa proclamations which were printed in the ei Sane oe pe oe ee 
ett : ‘; : = 3 Cir . € Vk, : ase! m from allegiance to 1€ . 
er yccen tenbere are exhibited in the Rationale G1 types of Scheeffer.! Two editions, one in "The fifth bull relates to a different matter: it 
graved on one block, It proves also that the ees ie they do not_warrant the = 1 The one first printed is dated April 6, 1462 : — forth eee ae Se een S 
original method of painting the letter in two Opinion that he was a very skillful designer itis a manifesto, from Diether, notifying all eae tothe urks, Bernard, De/’origine, 
colors had been found expensive and imprac- or an ingenious type-founder. The com- people that he is the lawful ruler, and that etc., VOl. I, DP, 242. 
ticable. bination of Gothic and Roman which he Adolph is the usurper. This document, which 2Bernard, De origine, vol. I, p. 273- 
Tue Work oF SCHG:FFER AND FUuST. Tue Work or SCH@FFER AND Fust. 
there exhibited is evidently an imitation of Round Gothic was not happy, for the new Messire Guthemburg, chevalier, a resident 
the Round Gothic face used by Gutenberg face is inferior in design and execution. . of Mentz in Germany, a man dextrous in 
in the Letters of Indulgence and the Ca- But the Round Gothic permitted the com- Ws enerayingeandiin ty aenind puncheend 
tholicon. _Schoeffer’s types present no pression of the book within fewer pages, a Breving F Re apie 
features of superiority : they show man- and was a more economical letter for the <q perfected the invention of printing with 
nerisms of engraving so like those of Gu- printer. The second volume has, in some f types and punches, curious concerning 
es types ei Hehe the Se copies, a colophon worded ee of ve this mystery, the king ordered the chiefs 
at both were made by the same punch- Psalter of 1457, setting forth that "this <4 of the mint to nominate some persons of 
cutter. ‘ little book was made by the masterly in- oS 5 ‘ 3 Ewe 
In the following year (1460), Schceffer vention of printing and of type-making, SZ = Proper experience in engraving of a similar 
and Fust finished a stout folio, which was without any writing of a pen;” in other = Q, nature, so that he could secretly send them 
printed in a Round Gothic face on the copies obviously of the same edition, this 4 to the said place, to obtain information = if : 
larger body of Great-primer. This book, clause does not appear. This is butone © 2) about the said form [type-mould] and in- The Mark of Fust and Scheeffer. 
the Constitutions (or Body of Divinity) ef of many variations in this book which can * ee ; : P : The description of printing here given 
Pope Clement V, with the Commentaries be satisfactorily explained only by Mad- Fee there to hear, to consider, and to ;, singularly exact. It is not surprising 
of Bishop ¥ohn Andrew, has been much den’s theory of a double composition. ~ learn the art. This mandate of the king “3 ent 
: ae ‘ . . my i : , that the existence of the new art was then 
admired by bibliographers for its composi- The capture and sack of Mentz brought td was obeyed, and it was directed that Sp etice i lealuet) h 
tion. For fac-simile see Appendix, which great misfortune to Fust and Scheeffer. Nicholas Jenson should make the journey nown in Paris, for the colophon to the 
shows the text of the pope nested in the We are told that the house and materials ES ‘s tack et Gack os os Psaiter of 1457 had announced the mas- 
commentaries of the bishop—truly ‘‘a of Fust were bumed; but it is plain that = by means of which the knowledge of the  terly invention; but it is strange that this 


NonPAREIL, No. 20. 


Tue Work OF SCHG@:FFER AND FUuST. 


proposition, for the book should have 
been in press or in preparation as long as~ 
the Brble of 42 lines. It is quite probable 
that the Psa/ter was planned and left 
incomplete by Gutenberg. The types, 
which are like those of Gutenberg’s 
Bible, are unlike any types subsequently 
made by Scheeffer. The great initials in 
colors are of the same design as the 
initials of the Dowatuses shown by Fis- 
cher, and by him attributed to Guten- 
berg. The careful manner in which they 
were engraved indicates experience as 
well as skill on the part of the engraver; 
but it is not possible that the engraver was 
Scheeffer, or any workmen attached to his 
office, for Schceffer never after printed any 
engravings on wood of equal merit.! The 
sumptuous style of the Psadter is unlike 
that of any book afterward made by 
Scheeffer; it is in a style which he did not 
originate, and could not sustain. He re- 
printed it in 1459, in 1490, and in 1502, 
but the later editions were not printed so 
well as the first.2. The inferiority of the 
later workmanship is evidence that the 
master mind who planned the work was 
not at the head of the printing office. 

On the sixth day of October, 1459, Fust 
published the Rationale Dyrand, or the 


rivulet of text in a meadow of notes.” In 
some pages the text occupies about one- 
third, in other pages about one-sixth, of 
the space assigned to the print. The com- 
position of pages so unevenly balanced 


- must have taxed the ingenuity of the com- 


positor, but he was materially aided by 
the licence permitting frequent use of 
abbreviations. ‘ ; 

These types are cast in evener line than 
the types of the Rationale, but the face is 
not of neater cut. The presswork is not 
good. The colophon, which is like that 
of the Psalter, states that the red letters 
have been printed by the masterly inven- 
tion of type-making; but the red letters 
are the ones interspersed in the text. The 
great initials were not printed; the blank 
space left for them was filled up by the 
illuminator. This book was even more 

opular than the Psalter 5 it was reprinted 
our times, but always in the same form. 

In 1462 Scheeffer printed a new edition 
of the Latin Bible, in the Great-primer 
types of the Constitutions, in folio form, 
two columns to the page, and 48 lines to 
the column. It is the first Bible with 

rinted date. According to modern taste, 
Rchoeffer’s change from Pointed Gothic to 


Pp 


137 


THe WorK OF SCH@FFER AND Fust. 


cciivo loco-pafealcere? badicer™ Cit 4d fer 
end ¢ p ipnapio ofc tor? m ecclad3 igs 
extingut.znon? w lapis peuffo ct calibe 
ley éftallo foliobied:ads elicit cw larmeco fouers 


igs wer? ~werere higfeat lege. cui? figue in mote 
xpi coplerefuere. titeo Wwlut extincte cellaé rebues 
wut.§ xe lapite id ee xpo.quiclapis angularis.q 
avrbé crucis pcufns fpm fem nobis eftudityl ve 
eriftallo incor folemaluna mediated eft po qui 


Fac-simile of the Text Types of the Rationale Durandi. 


Psalter of 1457, but with the addition of 
the words, ‘‘clerk of the diocese of Mentz,” 
after the name of Peter Scheeffer. The 
statement in the colophon, that it was 
made without the writing of a pen, is not 


he saved his punches and matrices, for we 
see that the old faces of type were used in 
all the later books of Fust and Scheeffer. 
The printed proclamations of Adolph show 
that Fust soon refurnished his office, and 


(From Bernard.) 


began to print. With his fellow-citizens, 
he suffered from the paralysis to industry 
inflicted by the war. There was no en- 
couragement for enterprise. There is no 


art and its establishment should be achiey- 
ed in this realm, and it should be his 
(Jenson’s) duty to first give the art of 
printing to the said realm.” ? 


fiis boe opulcalus fimtuae copletit-etad 
cufebias dermdultne in cuutate Oagunty 


por Jobanne fult cue-et Petri felon 


oe 


gornflepm clericit dioteb eiufdes eft confit: 


mata. Anno incarnacois 


once M-cecelen 


Jnvigila allump cois gtolevirguns marie. 


Fac-simile of the Types of the Bible of 1462. 


(From Bernard.] 


Latin, one in German, of a Bull of Pope 
Pius Il against the Turks, dated October 
22, 1463, have also been attributed to 
Scheeffer. 

The Bible of 1462 found few purchasers 
in Mentz. The demand in the city had 
already been supplied with the Bzdles of 
36 dines and of 42 dines, and buyers from 
abroad shunned a city subject to siege and 
to civil war. Leaying Scheeffer to take 
care of the business of the printing office, 
Fust took the unsold Béé/es to Paris, where 
he believed they would find a more gener- 
ous appreciation. For it seems that, in 
1458, the king of France had sent Nichol- 
as Jenson to Mentz to geta knowledge of 
the practice of typography, the fame of 
which had then reached France, and it is 
supposed that Jenson gave to Fust the 
information that there was a demand for 
printing in Paris, ‘This is the official rec- 
ord of the proposed mission.” 

“On the third day of October, 1458, the 
king [Charles vu], having learned that 


document specified its characteristic feat- 
ures—the /ormen, or the matrices and 
type-mould, the types, punches and en- 
graving. We see that the secret was 
revealed; that Frenchmen in 1458 hada 
correct idea of the vital principle of print- 
ing, and that all they required was a 
knowledge of its manipulations. 


1 We do not know whether Jenson acquired 
his knowledge of printing secretly or openly 
—in the office of Gutenberg or Scheeffer, or 
elsewhere, but he succeeded in his undertak- 
ing. Nor is the date of his return to Paris 
known. Madden thinks that Jenson was 
taught the art not in Mentz, but in Cologne. 
During his absence, Charles ViI died. On the 
isth August, 1461, Louis XI, his son, was 
crowned at Rheims. A lover of books, and the 
founder of the great National Library, the king 
should have been deeply interested in the mis- 
sion of Jenson, but he had formed a strong dis- 
like to all the officers that had been appointed 
by his father, and began his reign by dismis- 
sing the court favorites. Jenson was treated 
as one of theirnumber. All his efforts to get 
a suitable recompense for what he had done, 
and money to establish an office in Paris, were 
unavailing, and he was obliged to abandon 
Paris. He went to Venice, and made himself 
famous by his new design of Roman letter, and 
by the admirable presswork of his books. 


GEORGE BRUCE’S SON & CO., Typr-FounpEeRS, No. 13 CHAMBERS-STREET, NEW-YORK. 


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138 


Tur WoRK OF SCH@FFER AND FUsT. 


Hager to prevent the threatened rivalry of Jenson, Fust appeared in Paris, 
in 1462, with copies of the Bible, while Jenson was ineffectually soliciting the new 
king to aid him. So far from being persecuted in Paris, Fust was received with 
high consideration, not only by the king, but by the leading men of the city. 
He was encouraged to establish in Paris a store for the sale of his books, and 
to repeat his visit. ; ° 

These Bibles have been the oceasion of an incredible legend which was first 
told by one John Walchius. It would not deserve repetition here if it had not 
so often appeared in modern literature. He says that Fust offered one copy of 
this Bible to the king for sixty crowns, and another copy to the archbishop for 
fifty crowns. To tempt indifferent purchasers, he abated his price until it was 
but forty crowns, a price so small and so insufficient as to excite the greatest 
wonder. ‘The purchasers of different copies, fearing trickery, compared their 
copies. Instead of discovering imperfection, they found an unvarying unifor- 
mity which was unaccountable. Meanwhile Fust was still offermg for sale 
other copies, and all were exactly alike. As it was clearly impossible that any 
copyist could write so many books with this precision, it was obvious that Fust 


was in league with the Devil, and that the Bibles were their joint production. — 


The logical process by which this conclusion was reached is not stated; but 
we are told that complaint was made, that Fust was arrested, and thrown in 
prison, from which he was not released until he had revealed the secret. The 
absurdity of the story is transparent. Bernard has shown that it rests on no 
valid authority. ; 

In 1465, Schceffer printed the Decretals of Boniface VIL, a folio of 141 leaves, 
each page containing a text in large types, surrounded by notes in small types. 
Red letters and lines are introduced, but there are no engravings, and the 
presswork is in no point better than that of the Bible of 1462. The colophon 
exhibits an unscrupulous appropriation of the words of the colophon of the Ca- 
tholicon of 1460 ;1 but, unlike the printer of that book, Fust and Schoeffer here 
advertise themselves as the men most intimately connected with the great 
invention. We can plainly see their strong desire to be regarded as the first 
printers, but their is as yet no clear statement that Schoeffer was the real in- 
ventor of printing. 

In the same year was printed by Fust and Schoeffer an 
edition of The Offices of Cicero, a small quarto of 88 leaves, 
in their smaller size of Round Gothic types. To make the 
book of proper thickness, and perhaps to improve the ap- 
pearance of the types, which show signs of wear, Schceffer 
put thick leads, about one-tenth of an inch thick, between 
the lines. As it is the first book in which leads of per- 
ceptible thickness were used, this real improvement in 
printing may be attributed to Schceffer. This edition of 
Cicero is also distinguished as the first book in which Greek 
letters were printed; but these letters were not types— 
they were engraved on wood in a rude manner. 

In this year Conrad Sweinheym and Arnold Pannartz, 
who had established a printing office in the monastery of 
Subiaco, near Rome, printed an edition of Lactantius, in 
which Greek types were used. 

1 See page 133 of this book. 


THE WORK OF SCH@FFER AND Fust. 


This edition of Cicero has the following colophon : 

“This very celebrated work of Marcus Tullius, I, John 
Fust, a citizen of Mentz, have happily completed, through 
the hands of Peter, my son, not with writing ink, nor with 
pen, nor yet in brass, but with a certain art exceedingly 
beautiful. Dated 1465.” 

The phrase, not in brass, neque xrea, must be understood 
as, not by engraving im brass or copper-plates, or not by 
the process then employed by the copper-plate printers. 
The use of the words, Peter, my son, may be understood 
as the first acknowledgment by Fust of the marriage of his 
daughter to Scheeffer. 

The Cicero was reprinted on February 4, 1466. Soon 
after its publication, Fust made another journey to Paris. 
Before he could perfect his arrangements for the sale of 
his books, Paris was depopulated by the plague, and it is the common belief 
that Fust was one of its victims. This is not certainly known, but he was dead 
on the thirtieth day of October, 1466, the date of the first mass instituted for 
him at the Church of Saint Victor at Paris, where his body was buried. 

The Library of Geneva has a copy of this edition of Cicero, which contains, 
in his own handwriting, the acknowledgment of Louis de Layernade, first pre- 
sident, of Languedoe, that the book had been presented to him in Paris, by John 
Fust, in July, 1466. ; 

The record of this church says that the mass was instituted to John Fust, 

printer of books, ‘‘ by Peter Scofer and Conrad Henlif,”’ who gave to the church 
the Hpistles of Saint Jerome, printed on parchment, and valued at 12 crowns of 
gold. In 1473, Schceffer established another mass for Fust and his wife Mar- 
garet, with the Dominicans at Mentz, for which he gave a copy of the Epistles 
of Jerome and of the Constitutions of Pope Clement V. As two hooks were here 
required, it shows that the price of books was rapidly decreasing. 
_ After Fust’s death, Peter Schoeffer took his place at the head of the printing 
house. It seems, howeyer, that he had a partner, one Conrad Fust, or Conrad 
Hanequis, who was, no doubt, the Henlif mentioned in the record of the Church 
of Saint Victor. 

Bernard says that this Conrad was the son of John Fust, and that Christina 
Fust, who married Schceffer, was Conrad’s daughter. The only evidence that 
this Christina was Conrad’s daughter is the statement in the application, which 
is printed below. But this statement is not enough to overturn the contradic- 
tory statements of other writers of that day, who had better knowledge of the 
true relationship of all the parties. Wetter thinks that Conrad was another 
son-in-law to Fust. We know very little about him. It does not appear that 
he had anything to do with printing before the death of Fust, nor did he exer- 
cise any known influence as a printer. His name is not to be found in any of 
Schoeffer’s books. It is not known when he died. 

iy book belonging to the Church of Saint Peter of Mentz contains the fol- 
lowing record of their application for the manuscript of a book to which they 
wished to refer: : 

“On Tuesday evening, January 14, 1468, the dean and the canons of the 
chapter being assembled in the court of Rhingrave, the discreet, man, Conrad 


‘a1T'1O$8 


Portrait of Peter Schetter, 
{From Dahl.] 


‘daITIO$S 


WITH 7 TO PICA LEADS. 


WITH 7 TO PICA LEADS. 


Nonpareiu, No. 21. 


THE WORK OF SCH@FFER AND FustT. 


Fust, citizen of Mentz, respectfully requested of their reverences that they 
would be pleased to lend to him, and also to Peter, the husband of, his 
daughter, a book from the library of our church, to be used as a copy, 
namely: the Saint Thomas [of Aquinas], entitled Liber super quarto sententi- 
arum, and of which they wish to make many copies. The canons, con- 
sidering that. this request was just and pious, and that it would be 
productive of good, consented to the request, on condition, however, that 
he should replace this book, together with the Decretals of Boniface, and 
further, that he should give proper security to the canons. It was so done.” 

This manuscript was returned, as had been agreed. It was probably used 
to collate the text of their editions of this book, a big folio of 548 double- 
columned pages in types on English body, which was completed by Scheef- 
fer and Conrad Fust, June 13th, 1469. 

Soon after Gutenberg’s death, Scheffer put forth this artful claim for 
recognition as one of the inventors of the new art: 

“Moses, in the plan of the tabernacle, and Solomon, in the plan of the 
temple, did nothing more than imagine a meritorious work. The merit of 
constructing the temple was greater than Solomon’s thought. Hiram and 
Bezaleel, greater than Solomon, improved on the plans of Solomon and 
Moses. He who is pleased to endow mighty men with knowledge has given us 
two distinguished masters in the art of engraving, both bearing the name 
of John, both living in the city of Mentz, and both illustrious as the first 
printers of books. In company with these masters, Peter hastened toward 
the same end.! The last to leave, he was the first to arrive; for he ex- 
celled in the science of engraying, through the grace of Him only who can 
give genius and inspiration. Hereafter every nation 
may procure proper types of its own characters, for 
he excels in the engraving of all kinds of types. It 
would be almost incredible were I to specify the great 
sums which he pays to the wise men who correct his 
editions. He has in his employ, the professor Francis, 
the grammarian, whose methodical science is admired 
all over the world. I, also, am attached to him, not by 
any greed of filthy lucre, but by my love for the general 
good, and for the honor of my country. Oh that they 


1 This passage is an allusion to the running of the disciples to the sepul- 
chre where Christ had been laid. ‘So they ran both together; and the 
other disciple did outrun Peter, and came first to the sepulchre... yet went - 
he not in...,. Then cometh Simon Peter following him, and went into the 
sepulchre,’? St. John, xx, 4, 6, 


THE WORK OF SCH@FFER AND FusT. 


who set the types and they who read the proofs would 
free their texts from errors! The lovers of literature 
would certainly reward them with crowns of honor 
when with their books, they come to aid the students 
in thousands of schools.” Institutes of Justinian, 1468. 

In this colophon, Schceffer claims superior skill as a 
letter cutter. This pretension must be tested by his 
works. His first types, on English body, appeared in 
1459, at least four years after Gutenberg’s expulsion 
from the partnership; his next types, on Great-primer 
body, appeared in 1462; his last types, a very bold-faced 
Round Gothic on English body, were’ first shown in 
1462, and this new face is but a font of small letters fitted to the capitals 
of the English of 1459. It seems that this was done to avoid the expense 
of making a new mould, and to save the labor of cutting new capital let- 
ters—an evasion of duty not at all ereditable to the alleged inventor of 
the type-mould. Gutenberg made four sizes of Pointed Gothic—the Para- 
gon of the Bible of 42 lines, the Double-pica of the Bible of 36 lines, the 
Double-great-primer and Meridian of the Psalter of 1457—and three sizes 
of Round Gothic, the large English of the Letter of Indulgence of 31 lines, 
the small English of the Letter of Indulgence of 30 lines, and the Pica of the 
Catholicon of 1460. They were cast on seven distinct bodies. Schoeffer's 
three faces of types, one of them imperfect, were cast on two bodies. 
These are the only types made by Schceffer. If we compare them with 
the types of Gutenberg, it will be perceived that they are fewer in number 
and of inferior design and execution. It is absurd for Schoeffer to claim 
even equal merit with Gutenberg, either as letter-eutter or type-founder, 
Schceffer’s real merit is to be found in his eminence as a man of business. 
He was, no doubt, chosen as Gutenberg’s successor, for his presumed ability 
as a manager and a sharp financier. This presumption was warrantable. 
His subsequent management of the printing office shows that he was a 
thorough man of business—a born trader. He has not shown that he was 
a mechanic or an inventor. Like John Fust, he practised printing, not 
because he loved it for its own sake, but because he loved its excitement 
and its promised rewards. 

Schceffer established agencies for the sale of his books in Lubec! and 
Frankfort,? and probably in other cities. He sold not only his own books. 


1 He consigned his hooks to one Hans Bitz of _ 2To become a freeman of the city of Frankfort, 
Lubee, who died, leaving the debt unpaid. Scheeffer paid a tax of 10 pounds 4 shillings. 


GEORGE BRUCE’S SON & CO., Type-FounpERs, No. 13 CHaMBERs-STREET, NEW-YORK. 


——_- 


NonpaArein, No. 21. 


139 


THE WorK OF SCH@FFER AND FUST. 


‘put those of other printers.! We have many evidences that he was unwearied 


in the prosecution of his business, which seems to have been attended with 
much risk of loss.2 His prosperity was at its highest point in 1476, in which 
— he printed four large books. After 1480, his interest in the printing office 

egan to decline. Between 1490 and 1502, but six books were issued from his 
office. It is worthy of note that his last book was the fourth edition of the 
Psalter, the book with which he began his typographical career. 

During his later years, Schoeffer was made ajudge. His official duties pre- 
vented him from giving close attention to his printing office ; but printing was 
neglected by him because it had almost ceased to be profitable. He had com- 
petitors, not only in Rome, Paris and Venice, butin all the larger cities of Ger- 
many, and eyen in Mentz and Strasburg—competitors who were more skillful 
as printers and more shrewd as publishers. They had perceived that the art 
of printing would be of little advantage to them, and of little service to the 
world, if its practice was confined to the servile imitation of manuscript books, 
or if it expected to derive a generous support exclusively from the rich, or from 
men of taste and men of letters. The younger printers saw that it was neces- 
sary that books should be made more cheaply, and in more convenient forms. 
With this end in view, they introduced the cheaper size of octavo, which was 
much handier than the unwieldy folio or quarto. The rubricated letters and 
lines were supplanted by initials and borders engraved on wood and printed 
with the types in black ink. The fashion of surrounding a text with notes, 
and of making notes and text in measures of different width and length on 
every page, was abandoned: the text was put at the top ‘and the notes at the 
bottom. Signatures, catch-words, paging-figures, blank spaces between chap- 
ters, and the division of matter im paragraphs, were introduced. But the 
greatest innovation was in the letters themselves. When Nicholas Jenson 
fntroduced Roman types, and proved the superior legibility of light and simple 
lines, the uilarity of the sombre Gothic in Southern Europe came to an end. 
The new fashions were adopted by many printers in Germany, but they were 
not approved by Scheeffer, who resisted them till his death. In his judgment, 
the only model for a printed book was the Gothic manuscript copy, and he 
copied it as closely as he could, with all its imperfections. 

His son, John Scheeffer, who had some control over the printing office before 
his father’s death, timidly and tardily introduced paging-figures, but they were 
not regularly used in his later works. We may suppose that the father dis- 
liked the innovation. The invention of leads is the 
only improyement that can be attributed to Schoeffer. 


1 There is in Paris a treatise by Dun Scotus, printed by Anthony 
Koburger of Nuremberg in 1474, which contains a bill of sale written 
by Peter Scheffer, which states that the book was sold to one John 
Henry for three crowns of gold. 

2His agent in Paris was Hermann Stathoen, who died there in 1474, f 
before he had been made a citizen. According to the French law, all 
his effects reverted to the crown. The books of Scheffer were seized 
by the king’s commissioners, and were scattered and sold before his 
partner Conrad Fust, or Henlif, could make a reclamation. He ap- 
pealed to the king, Louis x1, who ordered that Scheffer should be 
yecompensed by the payment of 2,425 crowns. This was a large sum 
for that day: it was nearly four times as large as the sum fixed on in 
a valuation of all the books in the Louvre in 1459. 


“daT'TOS 


ADS. 


4 


bY 


WITH 8 TO PICA LI 


Sperioribs nup diebspemn 
tora queda giamatice ru; 
onméeta certo p ordimne nti 
mero podere ct menfutain 
nit cobercé inged labo conatul fit 


THE WorRK OF SCH@FFER AND Fust. 


century, wrote the following description of the invention, which he says 
he had from Peter Schceffer himself: 


“Tt was at this period (1450) in Mentz, a city of Germany on the Rhine, 
and not in Italy, as some people have falsely asserted, that this admirable, 
and till then unheard-of, art of printing books by the aid of types was 
planned and invented by John Gutenberg, a citizen of Mentz. When he 
had spent all his property in his search after this art, and was almost 
overwhelmed with difficulties, unable to find relief from any quarter, and 
meditating the abandonment of his project, Gutenberg was enabled by the 
counsel and by the money of John Fust, also a citizen of Mentz, to finish 
the work which he had begun. 

‘hey first printed, with engravings of letters on blocks of wood, arranged 
in proper order in the manner of ordinary manuscripts, the vocabulary 
then called the Catholicon; but with the letters on these blocks they were 
not able to print anything else, for the letters were not movable, but fixed 
and unalterable upon the blocks, as has been’ stated. To this invention 
succeeded another much more ingenious. They discovered a method of 
founding the forms of all the letters of the Latin alphabet, which they 
called matrices, from which [matrices] they again founded types, either in 
tin or in brass, strong enough for any pressure, which [types?] before this 
had been cut by hand. In right earnest, I was told, nearly thirty years 
ago, by Peter Schoeffer of Gernszheim, citizen of Mentz, the son-in-law of 
the first inventor, that this art of printing had encountered, in its first 
essays, great difficulties. For, when they were printing the Bible, they 
were obliged to expend more than 4.000 florins before they had printed 
three sections [sixty pages]. But the Peter Schoeffer already mentioned, 


at that time a workman, but afterward son-in-law, as has been said, of the 


first inventor, John Fust, a man skillful and ingenious, devised a more easy 
method of founding types, and thus gave the art 
its present perfection. And the three men kept 
secret among themselves, for a while, this method 
of printing, up to the time when their workmen 
were deprived of the work, without which they 
were unable to practise their trade, by whom it was 
divulged, first in Strasburg. and afterward in other 
cities.” 

There are many inaccuracies in this statement. 
Gutenberg and Fust are represented as foolishly 
squandering money in vain efforts to invent xylog- 


quo bifcétis ce certion mens fieret1ab 


Fac-simile of the Types of the Latin Grammar of 1468. 
A bold-faced Round Gothic on English Body 


THE WORK OF SCH@FFER AND Fust. 


This curt review of the works and workmanship of Peter Scheffer should 
be enough to show that his reputation as the father of letter-founders, and the 
inventor of matrices and the type-mould, is entirely undeserved. His types 
show that he had no skill as a letter-cutter or mechanic. It is not possible that 
a man who has shown such feeble evidences of mechanical ability could have 
been the first inventor of the matrices and the type-mould. While Gutenberg 
and Fust were living, Scheeffer never made the claim that he was the inventor, 
or even a co-inventor, of printing. But when they were buried, he claimed 
that he was superior to both, and that he was really the first to enter the sanct- 
uary of the art. In 1468, he falsely said that although Gutenberg was the first 
inventor, he was the man who perfected the art. It seems that he must have 
told his friends many things about his pretended services which he was un- 
willing to print. In 1503, John Schceffer said in his first book that he was a 
descendant of the inventor of the almost divine art of printing. In 1509, he 
says in another book that his grandfather was the first inventor of printing. 
In 1515, he printed this extraordinary statement: ; : 

“The printing of this chronicle was completed in the year of our Lord 1515, 
in the vigil of the Virgin Margaret, in the noble and famous city of Mentz, 
where the art of printing was first developed, by John Scheeffer, descendant of 
the honest man, John Fust, citizen of Mentz, and inventor of the before-men- 
toned art. It was in the year 1450, in the 13th indiction, under the reign of 
the very illustrious Roman Emperor Frederic 11, the very reverend father in 
Christ, Lord Theodoric, grand cup-bearer of Erpach, prince elector, occupying 
the archiepiscopal chair in Mentz, that this J ohn Fust began to devise, and 
finally invented, solely through his own genius, the art of printing. Aided by 


. divine favor, in the year 1452, he had so far improved and developed his art, 


that he was able to print; in which work, however, he was indebted for many 
improvements to the ingenuity of Peter Schoeffer of Gernszheim, his workman 
and his adopted son, to whom in acknowledgment of his many services and his 
skill, he gave the hand of his daughter, Christina Fust. These two men, John 
Fust and Peter Schoefter, carefully retained to their own advantage the secrets 
of the art; and for this purpose, they demanded from their workmen and ser- 
vants an oath that they should not in any way divulge the process. Notwith- 
standing this precaution, in the year 1462 the knowledge of the art was carried 
by their workmen. to distant countries, and printing thereby secured a wide 
7 ment.” : 

aerne Thorough dishonesty of this statement is abundantly proved by its sup- 
pression of the name and services of Gutenberg. Tt is also evident that the 
writer could not, or dared not, point out the improvements which he alleges 
were made by Scheeffer. This deficiency was soon supplied by a more credu- 
lous writer. About 1514, Trithemius,? one of the most learned men of that 

r John Scheeffer had conceded work of John Fust and of Peter Scheffer...’? This 
dates: ee and had told ue ies engineer Be ae iat 
with more truth. In the dedication of an edition 0! aces Be pees Reapiog stan ee i 
Livy. published by the same printer, and dated 
December 9, 1518, that the grandfather of John 
Scheffer had invented printing [chalcographia]. 
So much for the strength of audacious falsehood! 
Bernard, De Vorigine et des débuts, vol. 1, D. 309. 

2 Annales Hirsaugienses, vol. M1, Dp. 421. 


ivy, printed by him in 1505, John Scheeffer uses 
tie ienguees Kewl your Majesty {addressing 
the Emperor Maximilian] deign to accept this 
book, printed in Mentz, the city in which the ad- 
mirable art of typography was invented, in the 
year 1450, by the ingenious John Gutenberg, and 
was afterward perfected at the cost and by the 


GEORGE BRUCE’S SON & CO, Typr-FouNDERS, No. 


“GI108 


{From Bernard.] 


WITH 8 TO PICA LEADS. 


Tun WoRK OF SCH@FFER AND FUST. 


raphy, a method of printing then in common use in many cities of Ger- 
many, Italy and Holland. The Catholicon, which is mentioned as one of 
the productions of block-printing, was printed from metal types in 1460. 
In the beginning, Gutenberg is acknowledged as the inventor of printing, 
yet, a few lines further, we are told that Fust was the first inventor. And 
it seems that Gutenberg could do nothing with his invention until helped 
by the advice, as well as the money, of John Fust. After the improved 
invention,! Gutenberg and Fust fell in hopeless difficulties, having spent 
four thousand florins before they had completed sixty pages of the Bible. 
From these difficulties they were extricated by Peter Schoeffer, ‘son-in-law 
of the first inventor,” who invented a more easy method of making types, 
and who gave the art its present perfection, and without whose aid the 
earlier inventions would have been of little value. The intention of the 
writer is plain: Gutenberg, Fust and Schoeffer may be regarded as co-in- 
ventors, but Schoeffer did the most effective service. 

Tt is a curious fact that this paper, which.has been so often quoted as 
evidence in favor of Scheeffer’s invention of matrices, positively says that 
matrices had already been used by Fust and Gutenberg. Before Schoeffer’s 
name is mentioned, it is said that “they” [Fust and Gutenberg] discovered 
a method of making matrices. Trithemius says that Scheeffer’s contribution 
to the invention was “a more easy method of founding types, by which 
he gave the art its present perfection.” He does not explain this easy 
method. We do not know whether his claimed improvement was in the 
mould or matrix, in its construction or in its manipulation; but it was not 
origination or invention, it was improvement only. The passage which 
seems to say that the first types were cut by hand does not require much 
comment. ‘Trithemius may have misunderstood, and incorrectly reported, 
what he heard, or Scheeffer may have misrepresented the facts. It is 
evident that Trithemius is in error; for eut types, cut either as to body or 
as to face, never were, never could have been used. The most trustworthy 

1 The description of the more ingenious method failed him, and he could not recollect that it was 
of “founding the forms of all the letters of the the matrix which should have been of brass, and 
Latin alphabet, which they called matrices, from the type of tin. The characters “which before 
which [matrices] they again founded types, either this had been cut by hand,” may be regarded not 
in tin or in brass,” has been denounced by many as types, but as punches of soft metal. They 
writers on typography asthe confused statement of would necessarily be damaged by pressure in the 
a man who did not thoroughly understand what he semi-fluid metal selected for making the matrices 
related, and who has reversed the proper order of The tools which Trithemius vainly tried to de- 
the process of type-making. A more careful reading scribe were the punch of steel and the mould and 
will show that Trithemius attempted to describe matrices of brass. That punches and matrices of 
the process of matrix-making, which is set forth wood or of soft metal unequal to hard pressure 


in page 103 of this book. He says that types were were used by the earlier printers is proved by the 
made either of brass or of tin, for his memory variable shapes of their types. 


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140 


THE WoRK OF SCHG@FFER AND FUST. 


evidences tell us that the earliest types 
were cast in a mould. 

The impressions of Gutenberg, which 
clearly show that his types were cast 
and not cut, should outweigh the state- 
ments of all the chroniclers; but it 
may be proper to call attention to the 
fact that the types of the Bible of 42 
lines were used by Schoeffer in 1476, 
and that the types of the Letters of In- 
dulgence and of the Bible of 36 lines were 
in use by Hauman at the end of the 
fifteenth century. If these types had 
been cut, they would have been soon 
worn out. The re-appearance of these 
faces fifty years after they were first 
used shows that the types of Hauman 
must have been cast from the matrices 
of Gutenberg. 

If the word formen, which is found 
in the record of the trial of Strasburg, 
be construed as the same word must 
be construed in the colophon to the 
Catholicon of 1460, in the acknowledg- 
ment of Dr. Humery in 1468, and in the 
order of the King of France in 1458, 
then we have the most complete evid- 
ence that the matrices and the accom- 
panying type-mould were used by Gut- 
enberg long before he knew Scheeffer. 

It was not necessary that Trithemius 
should have told us that he derived this 
curious information from Peter Schcef- 
fer. In these perversions of truth we 
may see the vanity of the man who had 
already boasted that he was the first to 
enter the sanctuary of the art. The un- 
reasonableness of his claim to the in- 
vention of matrices, or to the perfection 
of printing, may be inferred from the 
fact that, although he was a judge, a 
man of distinction, and a successful 
publisher for more than forty years, 
during the period when the value of 
printing was fully appreciated, he was 
never noticed in any way as a great 
benefactor. Neither the emperor nor 
elector gave him any distinction as the 
founder of a great art; no one put up 


a stone to his memory, honoring him 
as an inventor ; no printer of that cent- 
ury regarded him as aught more than 
a thrifty publisher. His reputation 
has been created entirely by his own 
boasts and those of his family; and it 
is a most damaging circumstance that 
these boasts were not made until Gu- 
tenberg and Fust were dead, and that 
the statement written by Trithemius 
was not published until all the witness- 
es to the invention were dead, and there 
could be no contradiction. 

There are many facts which show 
the falsity of Scheeffer’s claim. Setting 
aside the evidences in favor of the prob- 


able priority of the types of the Bible - 


of 36 lines, the record of the lawsuit 
between Gutenberg and Fust virtually 
tells us that the types of the Bible of 42 
lines had been made, perhaps in 1452, 
but not later than 1453. That these 
types were founded in matrices, were 
of neater cut, more exact as to body, 
and better founded than any afterward 
made by Scheeffer, is apparent at a 
glance. They prove that the true me- 
thod of type-making had already been 
found. If Scheeffer vented the mat- 
rices from which these types were 
made, he should have pertected this 
invention in 1451. But Scheeffer was 
a copyist at Paris in 1449, and it is not 
certain that he was with Gutenberg 
before 1453. Here we encounter an 
impossibility. It cannot be supposed 
that a young collegian, fresh from 
books, without experience in mechan- 
ics, could invent, off-hand, a compli- 
cated method of type-making, upon 
which Gutenberg had been working 
for many years. 

There is still another version of this 
invention of matrices by Scheffer, the 
version of Jo. Frid. Faustus, which has 
been often paraded as conclusive testi- 
mony in Scheeffer’s favor. 

“John Fust, of Mentz, was the first 
to perceive the losses suffered by schol- 


THE WORK OF SCH@FFER AND FUST. 


ars through the scarcity of books. He 
labored diligently to invent some new 
method of multiplying them, so that 
they could be furnished to readers at 
reduced and reasonable prices. High 
Heaven, kindly favoring his sincere 
prayers and his most laudable inten- 
tion, revealed to this excellent man the 
most approved form and mainstay of 
his invention. In the beginning, he 
eut the letters of the alphabet for 
children, on a block of wood, in high 
relief. With much loss of time and 
labor, he waited for the invention of a 
more suitable ink; for writing ink 
blotted and made the printed letters 
unintelligible. He experimented with 
soot from a candle, with which he was 
able to print, but the impression would 
not adhere to the paper. At last he 
invented an ink which was black, ad- 
hesive and permanent. Then he began 
to print on a press and to publish little 
books for children, which everybody 
bought, for the price was trivial, and 
buyers praised the printer. Fust was 
stimulated to attempt larger work, and 
he thereupon printed the Donatus in 
exactly the same manner. But the en- 
graved pages of this book, cut out of 
the solid block, displayed many imper- 
fect letters, and many copies were 
worthless. It then occurred to the in- 
ventor, at the right time, that he might 
print books with separate types, and 
that it was not at all necessary that 
the letters should always be cut on 
solid blocks. Whereupon he cut up the 
wood blocks, and saving all the types 
that had escaped injury, he made new 
combinations with them. This is the 
true origin of the composition of moy- 
able types. This new method of making 
types called for a great expenditure ot 
time and labor; it delayed the work, 
hindered the development of the new 
art, and made many miserable difficul- 
ties for the inventor. 

“Pust had many workmen, who as- 


sisted him in making ink and types, and 
in other work. Among them was Peter 
Schoeffer of Gernszheim, who, when be 
perceived the difficulties and delays of 
his master, was seized with an ardent 
desire to accomplish the success of the 
new art. Through the special inspira- 
tion of God, he discovered the secret by 
which types of the matrix, as they are 
called, could be cut, and types could be 
founded from them, which, for this pur- 
pose, could be composed in frequent 
combinations, and not be singly cut as 
they had been before. Schceffer se- 
cretly cut matrices of the alphabet, and 
showed types cast therefrom to his 
master, John Fust, who was so greatly 
pleased with them, and rejoiced so 
greatly, that he immediately promised 
to him his only daughter, and soon after 
he gaye her to him in marriage. But 
even with this kind of type, great diffi- 
culty was experienced. The metal was 
soft and did not withstand pressure, 
until they invented an alloy which gave 
it proper strength. As they had hap- 
pily succeeded in this undertaking, Fust 
and Schoeffer bound their workmen by 
oath to conceal the process with the 
greatest secrecy; but they showed to 
friends, whenever it pleased them, the 
first experimental types of wood, which 
they tied up with a string and presery- 
ed. My unele, Doctor John Fust, tes- 
tified that he had seen, with the manu- 
scripts which were bequeathed by the 
inventor, these experimental types of 
wood, and that he had held in his hands 
the first part of his edition of the 
Donatus.” ; 

The unknown author further says 
that John Gutenberg was one of the 
friends to whom Fust and Schoeffer 
showed the wood types; that Guten- 
berg, professing to admire their inge- 
nuity, took a great interest in their 
enterprise, and lent Fust and Schceffer 
money, thereby entangling them in an 
agreement, from which they could not 


‘aITIOS 


‘dI'TOs 


Nonparein, No. 21. 


WITH 7 TO PICA LEADS. 


WITH 7 TO PICA LEADS. 


THE WORK OF SCH@FFER AND FUST. 


extricate themselves until Gutenberg 
had aequired a right to use the inven- 
tion, by which use he wrongfully en- 
joys the honor of first inventor. Here 
we may stop. It would be a waste of 
time to expose, one by one, the false- 
hoods of a statement so flatly contra- 
dicted by many unimpeachable evi- 
dences. It is very clear that the writer 
had no new facts to tell us about the 
invention. He has told us not how it 
was made, but how he wished it had 
been made that it might redound to the 
honor of the Fusts. 

This version is found in Wolf’s Mon- 
umenta Typographica, vol.1, pp. 466 and 
469, under the heading of The Statement 
of an Unknown Author, and is attributed 
by Wolf to one Jo. Frid. Faustus of 
Aschaffenburg (who died in 1620), or 


to his son. Wolf admits (p. 452, note) 
that the identity of the author is not 
clearly established. It is probable that 
the statement was written by a descend- 
ant of John Fust, who was predisposed 
to magnify his services and those of his 
partner. Van der Linde calls the writer 
an arch har. Bernard rejects the en- 
tire statement as unworthy of credit, or 
even of notice. 

What later writers have said about 
the value of Schceffer’s services need 
not be considered, for they also have 
produced no new facts: they have based 
their opinions entirely on the incorrect 
information of Faustus, Trithemius 
and Schoeffer. We may pass, without 
further delay, to the examination of 
the claims made for other alleged in- 
ventors of printing. 


XXTV 


ALLEGED INVENTORS OF PRINTING. 


Discovery of the Book of Four Stories, with Imprint of Albert Pfister... Its Types the same as those 
of the Bible of 36 lines.... Pfister regarded as an Inventor of Printing.... Description of Book of 
Four Stories... Its Colophon.... Book of Fables.... Colophon and Fac-simile,,.. Other Books by 
Pfister... Pfister not a Type-founder... Probably an Engraver on Wood... Could not have Printed 
the Bible of 36 lines... Pfister probably got his knowledge of Printing from Gutenberg... Paul of 
Prague’s Notice of Printing at Bamberg... Sebastian Pfister... Pamphilo Castaldi... Absurdity of 
the Legend... John Mentel and his Epitaph... Gebwiler’s Statement... Fac-simile of the Arms of 
the Typothete...Specklin’s Statement... Plain Falsifications of History... Known Facts about 


Mentel and his partner Henry Eggestein. 


It is, perhaps, possible to show of all inventions that somewhere somebody must have been very near 
toit. To assert of any invention whatever, that it could or should have been invented long ago, 
is nothing but chicane: we are to prove, incontrovertibly, that it was really invented, or else be 


silent.—Lessing. 


SCHELHORN’S opinion that the Bible of 
36 lines was the Bible deseribed by Zell 
—the book printed by Gutenberg in 
1450— did not meet with the approval 
of those who had copies of the Bible of 
42 lines. Men who had paid very large 
prices for the copies of an edition sup- 
posed to be the first, were loth to have 
it degraded to the inferior place of a 
second edition. The testimony of Zell 
was unceremoniously set aside; the 
written date of 1460 in one copy of the 
Bible of 36 lines was regarded as indi- 
cating the date of printing, and the 
book was declared the work of Guten- 
berg between 1455 and 1460. Another 
hypothesis was soon presented. In 1792, 
Steiner, a clergyman at Augsburg, an- 
nounced the discovery of the Book of 
Four Stories with the imprint of Albert 
Pfister, Bamberg, 1462. Soon after, 


Camus read before the National Insti- 
tute at Paris, a critical description of 
the book, in which he proved the 
identity of its types with those of the 
Bible of 36 lines. Thereupon, incau- 
tious readers rushed to the hasty infer- 
ence that, as Pfister had made use of 
the types of the Bible of 36 lines, the 
Bible must haye been printed by Pfister. 
Crities of authority did not hesitate to 
say that Albert Pfister, a printer un- 
known for three centuries, and of whom 
there is no tradition, might have been 
an inyentor of printing, the rival, and 
perhaps the predecessor and teacher, of 
John Gutenberg. As we know Pfister 
only through his books, it will be proper 
to examine their workmanship before 
this hypothesis can be considered. 
They are not numerous: sixteen books 
and pamphlets have been attributed 


GEORGE BRUCE’S SON & Co., TyPE-FounbErS, No. 13 CHampBers-Street, NEW-YORK. 


yay} 


Nonparein, No. 


ALLEGED INVENTORS OF PRINTING. 


to him, but his claim to eight has been 
disproved.— Five of the disputed works 
are the Donatus of 1451, the Bible of 36 
lines, the Letters of Indulgence of 1455, 
the Calendar of 1457 and the Almanac 
of 1455. The chief reason for attribut- 
ing these works to Pfister is that they 
exhibit the types of the Bible of 36 lines. 

The Book of Four Stories, a thin folio 
of 60 leaves—a version made for child- 
ish readers of the biblical descriptions 
of Joseph, Daniel, Esther and Judith 
—may be offered as the mést character- 
istic specimen of Pfister’s style. The 
types of this book are those of the Bible 
of 36 lines, but they are much worn. If 
they were not the identical characters, 
they were cast in the mould and mat- 
rices that had been used for the types 
of the Bible, for the types of both books 
agree in face and in body. The Book of 
Four Stories has fifty-five engravings 
on wood, six of which are repeated, 
each occupying the space of about 
eleven lines, or 234 inches, of the text. 
The engravings are coarse: they have 
no artistic merit, and are in every way 
inferior to those of the Bible of the Poor 


or the Speculum Salutis ; they abound 
in puerile absurdities, and seem to be 
the work of a maker of cards or images. 
The text of the book is in German 
rhyme, but the lines follow each other, 
without break, as ina text of prose. A 
capital letter indicates the beginning 
of each line of poetry, and a lozenge- 
shaped period denotes its ending. The 
presswork is decidedly inferior: the 
deeply indented paper shows that the 
printer could not regulate the pressure 
on the types; the muddiness of the 
letters comes from the use of a thin 
ink, and the faulty register from a 
shackly press. The colophon or sub- 
seription of this book, a translation of 
which is submitted, specifies the date, 
the place of printing and the printer : 
‘“Hivery man, in his heart, desires to 
be learned and well read. Without 
books and without teacher, this cannot 
be. If it were otherwise, allof us would 
know Latin. These reflections have 
engaged me for a long time. ‘To good 
purpose have I sought out and gather- 
ed the four stories of Joseph, Daniel, 
Judith, and also of Esther. God granted 


Wy 


PULLER ot eed 


rotection to these four personages, as 

e always does to the good. This little 
book, which is intended to teach us 
how to amend our lives, was completed 
in Bamberg, in which city Albert Pfister 
printed it, in the year which is num- 
bered one thousand four hundred and 
sixty-two,—which is the truth,— soon 
after the day of Saint Walpurgis, who 
is able to obtain for us grace abundant, 
peace, and everlasting life. May God 
give them to all of us. Amen.” 

The Book of Fables, a folio of 88 
leaves, printed with the types of the 
Bible of 36 lines, is another work which 
fairly exhibits the style of Pfister. It 
contains eighty-five fables, each illus- 
trated with a coarse engraving on wood, 
in which monkeys represent men. The 
text is in rhyme, but the lines follow 
each other without break. The colo- 
phon says: 

“At Bamberg this little book was 
finished, after the Nativity of Jesus 
Christ, as one counts, one thousand 
four hundred years and sixty and one, 
—such is the truth,—on the day of 
Saint Valentine. God save us from his 
sufferings.” , 

Another book attributed to Pfister 1s 


Fac-simile of an Illustration in the Book of Fables by Albert Pfister. 


[From Heineken.] 


known as Belial, or the Consolation of 
the Sinner. It is a folio of 95 leaves, 
which exhibits on the last leaf the 
words Albrecht Pfister zu Bamberg. 
Pfister also printed two editions of the 
Bible of the Poor, one in Latin and one 
in German, each containing eighteen 
engravings. His treatment of the old 
block-book is that of a mechanic and 
not of an artist: the designing, en- 
graving and printing are of the lowest 
order. He also printed the Complaint 
against Death, and the Judgment of Man 
after Death. All were printed with the 
types of the Bible of 36 lines, and they 
were, apparently, his only types. 

That Pfister was not a type-founder 
seems clearly enough established 
through the fact that he did all his 
typographic work with only one size 
and face of type. In all his books, the 
letters of the Latin alphabet appear old 
and worn, but the w, k, and z, charac- 
ters of the German alphabet, are new 
and sharp. The types had evidently 
been used before for books in Latin, 
but not by Pfister, for the Bible of the 
Poor seems to have been the only book 
he printed in that language. 

The Book of Fables bearing the date 


‘daT'IOS 


“dI'IO$S 


WITH 8 TO PICA LEADS. 


WITH 8 TO PICA LEADS. 


141 


ALLEGED INVENTORS OF PRINTING. 


of 1461 seems the earliest of Pfister’s 
books, but it was published without 
any explanation stating that it was 
made by anew art. It may therefore 
be presumed that he began to print 
with types before 1461. The profusion 
of wood-cuts in his books is an in- 
dication that he was an engraver on 
wood—probably a maker of playing 
cards, images, and block-books, who 
had profited by an early opportunity 
to perceive the advantages of types. 
As a seller and maker of chap-books, 
he would prefer the types because they 
explained his pictures more cheaply 
than the slower process of engraving 
letter by letter; but his persistent use 
of types which other printers would 
have condemned as worn out, shows 
that he did not make and could not 
renew them. It is not probable that 
a man who seems to have rated his 


tween the years 1442 and 1448, about 
which we know nothing. That he was 
then at work on his problem; that he 
must have communicated more or less 
of his secrets to the many unknown 
workmen and associates who succeeded 
Dritzehen, Saspach, Heilmann and 
Diinne; that he may have been induced 
to try his fortunes at Bamberg before 
he went to Mentz; that Albert Pfister 
may have been one of his workmen who 
followed him to Mentz and acquired 
some skill in the art,—these are con- 
jectures that deserve consideration. 
But they are conjectures only: we have 
no exact knowledge concerning the in- 
troduction of typography in Bamberg. 
It is plain, however, that the appear- 


ance at’ Bamberg, in 1461,—a year be-. 


fore the sack of Mentz, the date usually 
fixed on as that of the dispersion of the 
printers, and the general divulgement 
of the seeret,—of a book printed in the 
worn types of the Bible of 36 lines, and 


wretched wood-euts as the most meri- 
torious feature of his books could have 
invented types. It is possible, how- 
ever, that an image printer of low aims 
and slender ability could have perceived 
the economical advantages of types, 
and may have purchased a discarded 
font for the sole purpose of printing 
explanations to his engravings. And 
this seems the only conjecture that will 
explain Pfister’s ownership of the types 
of the Bible of 36 lines. 

The conjecture that Pfister printed 
the Bible of 36 lines will not bear a 
critical examination. It is not enough 
to show that our first positive knowl- 
edge of the types and the copies of this 
book begins with Pfister and Bamberg. 
It still remains to be proved that Pfister 
made the types and printed the copies. 
The proof is wanting and the probabil- 
ities are strongly adverse. The Bible 
of 36 lines is unlike any book of Pfister’s 
in size, character, and workmanship. 
It is not possible that the man who 
began his career as a printer with an 
admirable edition of the Latin Bible in 
three volumes folio, could have ended 
it with the publication of shabby little 
books in German, intended for children. 
A declension like this is without par- 
allel in typographical history. 

It has been supposed that Pfister got 
his types and his imperfect knowledge 
of typography from Gutenberg after 
the dissolution of the partnership be- 
tween Fust and Gutenberg, but Pfister 
could have gotten them before. There 
is a blank in Gutenberg’s history be- 


the subsequent discevery near this city 
of many copies of this book, which 
could not have been printed by Pfister, 
are indications that Gutenberg must 
have had business relations with Bam- 
berg which are of importance in the 
history of printing. 

The only documentary evidence 
which seems to favor the hypothesis 
that Pfister might have printed the 
Bible of 36 lines is the following curious 
notice of early printing, which was 
written about 1463, by Paul of Prague, 
for a contemplated but unfinished en- 
cyclopedia of arts and sciences: 

“Nhe libripagus is an artisan who 
skillfully engraves on plates of copper, 
iron, hard wood, or other substances, 
images, writing, or anything he fancies, 
and afterward quickly prints them on 
paper, or on a wall, or on a smooth 
board. He cuts whatever he pleases, 
and is a man who can apply his art to 
pictures. When I was at Bamberg, a 
man engraved the whole Bible upon 
plates, and in four weeks skillfully pre- 
served this engraving of the whole 
Bible on thin parchment.” 

There is no English equivalent for 
libripagus, which means a workman 
who is an engraver, a printer, and 
a stenciler. Like other writers of 
his day, Paul of Prague had to coin a 
word to define printers, who for many 
years after were called typographit, typo- 
thet, chalcographi, excusores and pro- 
tocharagmatici. Most writers called 
printers impressores, or impressors, 
from the process of impressing types. 
This is the word that has fostered the 
error that printing is impression. 


GEORGE BRUCE’S SON & CO., TyrE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK, 


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Acats, No. 11. 


ALLEGED INVENTORS OF PRINTING. i 


Pfister’s name is not mentioned, but he was, probably, the libripagus 
here noticed. The story is not credible. The whole Bible was not print- 
ed in four weeks, neither at Bamberg nor elsewhere; nor was it ever en- 
grayed upon plates. The only book of Pfister’s to which this statement 
could be applied, is his edition of the Bible of the Poor. 

We do not know when Pfister died; his last dated work is of the year 
1462. Sebastian Pfister, who is supposed to be Albert’s son, was at the 
head of a printing office at Bamberg in the year 1470, and then printed a 
little book which seems to have been his first and last venture in printing. 

Pamphilo Castaldi of Feltre, Italy, to whom a statue was erected in 
1868, has also received the undeserved honor of an inventor of printing. 
This commemoration of the man by the people of a great nation seems 
to require in this book at least a statement of the legend on which his 
claims are based. This is the legend, abridged from a long panegyric on 
Castaldi’s services by one of his countrymen: 

“ Pamphilo Castaldi was born in Feltre, of noble parents, at the end of 
the fourteenth century. He was highly educated and intelligent. Al- 
though a poet and a lawyer of good reputation, his love for literature 
induced him to open a school for polite learning, which soon became 
famous, and attracted students from foreign countries. None of his 
pupils acquired greater fame than John Fust, who is called by the his- 
torians of Feltre, Fausto Comesburgo. This Faust resided with Castaldi 
in Feltre as early as 1454. In the year 1442, Castaldi had seen a proof of 
Gutenberg’s attempts at the invention of typography. Gutenberg at 
that time (1442) was supported by the money of Faust and the skill of 
Scheeffer, his partners. After ten years of experiment, Gutenberg had 
done nothing more than print from blocks of wood and with metallic 
characters. He had not yet invented movable types, for the Bible of 1456 
should be classified with the block-books. 

“Castaldi, more ingenious or more fortunate, had already discovered 
movable types before the arrival of Faust in Feltre. It is well known 
that, a century before the publication of the Mentz Psalter of 1457, initial 
letters and capital letters formed of glass were manufactured at Murano, 
and used in Italy. These glass letters were, probably, the invention of 
Pietro de Natali, bishop of Equilo. Castaldi had noticed that these letters 
were of advantage to the scribes, who printed them in their manuscript 
books. He at once saw that it would be possible to print entire books, 
instead of occasional letters, with movable types. The facility with 
which this discovery had been made caused him to undervalue its im- 
portance. He gave the idea to Faust, who, returning to his partners in 
1456, or a little before, enabled them to appropriate the invention of Cas- 
taldi. They greedily adopted this invention, and, in 1457, they produced 
the Psalter, the first book printed with movable characters of wood.” 
See Ticozzi, Stefano, Storia del letterati e degli artisti del dipartimento 
della Piave, Belluno, 1813. See also, Dimprimerie, No. 58, October, 1868, 

The only portion of this absurd story which has any claim to respect 
is that about the early use in Italy by copyists of engraved or moulded 
initial letters. That rude letters could have been made by the glass- 
blowers of Murano, and that Castaldi may have amused himself with 


AuLEcEp INVENTORS or Prinvina. 


experiments in stamping consecutive letters or lines, is possible. All 
else is pure fiction. It does not appear that Castaldi printed any- 
thing of value: we have no relies of his experiments in the form of a 
book, or even of a leaf, a line, or a letter. Nor did his dreams or 
teachings about the possible yalue of types ever incite any of his 
Italian pupils to make and use types. 

To those who think that the merit of the invention of printing is 
in the conception of the idea of movable types, this legend about: 
Castaldi is instructive. It 
reveals to us a man who is 
represented as having a very 
clear idea of the importance 
of types, who did nothing 
with his great discovery. 
His discovery, if it can be 
so called, was useless. He 
cannot be rated as an in- 
ventor of printing, for he 
printed nothing. 

John Mentel, of Strasburg, 
who died in December, 1478, 
and was buried in the great 
cathedral of that city, has 
there a tablet to his memory, 
which contains the following 
inscription: 

“Here I rest: I, John Men- 
tel, who, by the grace of God, 
was the first to invent, in 
Strasburg, the characters of 


“y er ‘ typography, and to develop 
this art of printing, which should be perpetuated to the end of the 


world, to such a degree of perfection that a man can now write as 
much in a day as another could have done in a year. It is but just 
that thanks should be rendered to God, and without vanity, to me 
myself; but as this homage could not otherwise be rendered in a 
proper manner, God has ordained, as the reward for my invention 
that the stones of this cathedral should serve for my mausoleum.” 


The Arms of the Typothet. 
[From Hansard.] 


‘dITOS 


SaVaHI VOId OL 8 HLIM 


SOLID. 


WITH 8 TO PICA LEADS. 


ALLEGED INVENTORS OF PRINTING. 


(Bernard, De Vorigine, vol. m1, p. 94.) 
This vain and scandalous inscrip- 
tion was probably made by one 
of Mentel’s descendants. It is not 
stated when this tablet was erected. 
Bernard supposes that it is a second 
tablet, which was put up in place of 
one made soon after his burial. 
The claim that Mentel was the 
inventor of typography was first 
made in 1520 by John Schott, son 
of a Martin Schott, who had mar- 
ried Mentel’s daughter and inherit- 
ed his business. It was probably 
provoked by the false assertion of 
John Scheeffer, that Peter Scheeffer, 
his father, and John Fust, his grand- 
father, were the proper inventors, 
to the exclusion of Gutenberg. 
Schott, knowing that Mentel’s 
claims as an inventor were as valid 
as those of Fust or Scheffer, placed 
on his books, after 1520, an armorial 
shield containing a crowned lion, 
with this inscription: ‘‘ Arms of the 
Schott family, granted by the Em- 
peror Frederic mz to John Mentel, 
the first inventor of typography, 
and to his heirs, in the year 1466.” 
There are doubts concerning this 
patent of nobility. When it was de- 
manded many years afterward, it 
could not be produced [De Vorigine, 
vol. u, p. 69]. It may have been 
granted to Mentel, not as the first 
printer, but as the first printer in 
Strasburg. Schoepflin, who speaks 
of this document as if he had seen 
the original, denies that it gave to 
Mentel the title of inventor of print- 
ing [Vindicie Typographice, p. 98, 
note}. There was a tradition that 
the Emperor Frederic m1 had given 
to a corporation of master printers 
known as the Typothets, an heral- 
dic shield, representing an eagle 
holding in one claw a composing- 
stick, and in the other claw a copy- 
guide, surmounted by a griffin dis- 


tributing ink with two balls. But 
these are not the arms displayed by 
Schott, nor did Mentel, nor his suc- 
cessor Flach, make any display of 
them in their books. 

In the year 1521, Jerome Gebwiler, 
misled by the assertions of Schott, 
undertook to controvert the pre- 
tensions of Fust and Scheffer as 
the first printers. He writes that 
printing was practised in Strasbur, 
by John Mentel, who had obtaine 
the new art of chalcography, or of 
making books with tin pens (types) 
about the year 1447; that Mentel, 
and Eggestein, his partner, made an 
agreement that they should keep 
secret the new art; that Schott, 
whom he praises, showed him a 
manuscript book, without date, 
written by Mentel, in which were 
drawings of typographic instru- 
ments, and observations on the 
manufacture of printing ink. It 
was by similar methods that John 


Schott induced James Spiegel to- 


declare, in a book printed in 1531, 
that John Mentel invented printing 
in Strasburg in the year 1444, In 
another book Spiegel says 1442, 
John Schott is also the authority 
for the following version of the in- 
vention which was found in an old 
manuscript chronicle attributed to 
Daniel Specklin. 

“Tn the year 1440, the admirable 
art of printing was discovered in 
Strasburg by John Mentel. His son- 
in-law, Peter Schoiffer, and Martin 
Flach at once made use of the dis- 
covery; but_a servant of Mentel, 
called John Gensfleisch, after steal- 
ing the secret, fled to Mentz, where 
he soon established the new art, 
through the help of Gutenberg, a 
very rich man. Mentel was so affect- 
ed with grief by this perfidy that it 
caused his death. In honor of the 
art, he was buried in the monastery 


ALLEGED INVENTORS OF PRINTING. 


or cathedral church, and a represen- 
tation of his press was cut on his 
tombstone. God swiftly punished 
the servant Gensfleisch, by striking 
him with blindness for the remnant 
of his life. I have seen the first 
press (of Mentel) and the types cut 
on wood, which were of syllables 
and words. They were pierced 
through the sides, that they could 
be conjoined by a wire and kept in 
line. Itis to be regretted that these 
types, the first of the kind, should 
have been lost.”” Meerman, Origines 
Typographice, vol. 11, p. 199. 

It is not clearly proved that Speck- 
lin, who was a magistrate of Stras- 
burg at the close of the sixteenth 
century, is the author of this state- 
ment. Bernard says that this ver- 
sion contains about as many errors 
as words. 

These impudent falsifications of 
history would have been soon for- 
gotten if they had not been renew- 
ed in the seventeenth century, by 
one James Mentel, a physician of 
Paris, the supposed descendant of 
John Mentel, who published two 
little books on the history of print- 
ing, in which he enlarged and dis- 
torted the versions of Gebwiler, 
Spiegel and Specklin. To support 
his claim, he did not seruple to alter 
the text and pervert the meaning 
of the authors from whom he pre- 
tended to quote. (Lichtenberger, 
Initia Typographica, p. 56.) It was 


GEORGE BRUCE’S SON & CO 


a useless work, for no impartial 
critic can accept the statements of 
Mentel or of his predecessors. For 
these statements, like those in be- 
half of Coster, Castaldi and Schcef- 
fer, were made for the first time, 
long after the invention had been 
perfected, by men who had the de- 
sire and the temptation to misrep- 
resent the facts. All of them are 
tainted with the same calumny — 
the accusation that Gutenberg stole 
his knowledge of the invention — 
and all of them are contradicted by 
public records of good authority. 

Neither Mentel’s books nor the 
records of Strasburg give any war- 
rant to the hypothesis that Mentel 
was an inventor of printing. His 
name appears for the first time on 
the tax list of the city of Strasburg, 
in the year 1447. He is called a golt- 
schriber, and is enrolled with the 
goldsmiths. In another record of 
the city, for the same year, his name 
appears in alist of artists and paint- 
ers, but he is not described as a 
printer. The earliest notice of him 
as a printer was made by Philip de 
Lignamine of Rome, who said, in 
1474, that John Mentel of Strasburg, 
since 1458, had there a printing office, 
in which he printed three hundred 
sheets a day, ‘after the manner of 
Fust and Gutenberg.” By this state- 
ment we may suppose that Mentel 
practised printing soon after the 
dissolution of the partnership be- 


- TYPE-FounpERs, No. 13 CHAMBERS-SrREET, NEW-YORK. 


—e 


Acats, No. 12. 


ALLEGED INVENTORS OF PRINTING, 


tween Fust and Gutenberg. It was, no doubt, from Mentz that he 

ot a knowledge of typography, for it cannot be shown that he was 

aught the art by any of Gutenberg’s early associates in Strasburg, 
nor is there any reason to believe that he was an independent in- 
ventor. We have no evidence that he experimented with types, or 
that he printed anything in Strasburg between 1439 and 1457. Itis 
not even established that Mentel was the first practical printer in 
Strasburg, for there is evidence that he began to print there in 
partnership with one Henry Hggestein, who was a man of superior 
ability and of greater distinction, a master of arts and philosophy. 

The first book printed at Strasburg with a date was a copy of the 
Decretals of Gratianus, a folio in two volumes, which bears this im- 
print: “By the venerable Henry Eggestein, master of hberal arts, 
and citizen of the renowned city of Strasburg, in the year 1471.” 
This was not his first book, for in another book printed in the same 
year, he tells the reader that he has printed ‘innumerable volumes 
of law, philosophy and divinity.” He printed two or three editions 
of the Bible in Latin, and one in German, and many other books in 
folio. The types of these books are unlike those used by Mentel. 
Eggestein was recorded in the tax list among the city officers, and 
was afterward bishop’s chancellor in the court of Strasburg. The 
partnership between Mentel and Eggestein was of short duration. 
The date of Eggestein’s death is not known: hisname is not found 
in any books printed with his pee after 1472. 

Mentel did not affix his name to any of his books before 1478, but 
he had then printed many large theological works. Schcepflin says 
that he soon made himself rich by his industry and his sagacity in 
the selection of salable books. He was a shrewd publisher, the first 
who issued a descriptive catalogue, and employed agents for the 
sale of his works. 

It is supposed that he printed the Bible in German and in Latin. 
Questions of Conscience, A Concordance of the Bible, The Epistles of 
Saint Jerome, The City of God, The Specula of Vincent of Beauvais. 
All these books are thick folios —many of them in types on English 
pody. Some are in two, and the last named in eight, volumes. Other 
works have been attributed to him, but Madden says that some of 
them (books with a curious form of the letter R— which others say 
were the work of Zell) were printed at the Monastery of Weidenbach. 


xXXV 
THE SPREAD OF PRINTING. 


First Printers of Germany... Mentel at Strashurg... Zell at Cologne... Keffer and Koburger at 
Nuremberg....Pac-simile of a part of Koburger’s Map....Zainer at Augsburg. ... Fac-simile of 
Zainer’s Birth of Eve....John of Westphalia and Martens at Louvain.... Mansion at Bruges. 
Gerard Leeu at Antwerp... First Printers of Italy...Sweinheym and Pannartz at Rome... De 
Spira at Venice... Jenson’s Types... Venice Famous for Printing... Cennini at Florence. .. The 
Ripoli Press... Zarot at Milan... Appearance of Publishers... First Printers of France... Gering, 
Crantz and Friburger at Paris... The Printers of Elegant Books... First Printers in Spain and 
Portugal... In England.... Caxton at Westminster .. .. Printing did not find a general Welcome. 
Made Popular by the Cheapness of Books....Injudicious Selection of Books for Publication. 
Demand for Books in the Vernacular .. . First Check on the Liberty of the Press. 


About this time, the crafte of Enpryntyng was fyrste founde in magounce in Almayne, which crafte 
js multiplyed through the world in many places, and bookes ben had grete chepe and in grete 
nombre by cause of the same crafte.—Caxton, 1482. 


IN CENTRAL AND NORTHERN EUROPE. 


WHEN two rival printing offices had been established at Menta it 
was no longer possible to keep secret the processes. Every print- 
er who handled the types and every goldsmith who helped to 
make the tools must have felt a weakening of the obligation of 
secrecy. The sack of Mentz was a greater misfortune, for it dis- 
solved all obligations and sent the printers to other cities to 
found new offices. Not one of these printers has told us when 
and how he began to print on his own account. All we know 
about the introduction of printing in many of the large cities has 
peén gathered from the dates of books and the chance allusions 
of early chroniclers. It is from these imperfect evidences that 
the following tables of the spread of printing have been made 
up. They are based on the chronological arrangement of San- 
tander’s Dictionary, but the names and dates have been collated 
with those of Cotton’s Typographical Gazetteer, and other works 
of authority, and some alterations have been made. 


‘aTIOS 


“SaVHT VOId OL 8 HLIM 


SOLID. 


WITH 8 TO PICA LEADS. 


THE SPREAD OF PRINTING. 


Place. Printer. Date. 
Montz.) 52 e3. 5 eee aeeeee John Gutenberg 1450 
Bamberg -- Seen A Deri ensterse-.- 

Strasburg sees ose ses .-Mentel and Eggest 
Cologne) asses eee ealapbatey Ae E eee area ‘ 


AT gSDULS = +-2e cesar .-Gunther Zainer- 
Nuremberg --_ 2 .-Henry Keffer -.- 
Munster in Argau........Helyas Helye- -- 
Spire) .oceca see sees -Peter Drach -. 
iW m2 oeceieiee se aes John Zainer.- -- 
Buda (Hungary). ----- .-Andrew Hess - 
Mersburg -:---42---- .-Lucas Brandis 
Wau gin Son! sss sacs acc sae woe se see ee 
THISSIIn eens 2-225 ean -Conrad Fyner 
Marienthal -..--..---- -Brothers of Life-in-Common -.1474 
Lubec --. aah Tues Brandigis 32-2. se a. 1475 
‘Burg dori.. sass" 4 1475 
Blaubeuren - -1475 
Pilsen eee 1475 
Rostock . é é ife-in-Common . .1476 
Geneva). .2-2.-5-- == -Ad. Steymschauer- -.....------- 1478 
DRA a Geis ee cee noche Were one asters Sean oe sosarise -1478 
Fichstadt.- --..--- .--M. and G. Reyser-......- 1478 
Wurtzburg.----.- -..Dold, Ryser, et av ..---... -1479 
TGOUPSLCY =. 2c. soe = Mancus Brandisawnsess== -1481 
Aurachss.csss-=— ...Conrad Fyner:------..- -1481 
iDriactissses-ns ce ..-Wider de Hornbach. - -- -1482 
Memmingen ---- .--Albert de Duderstadt. - -- 1482 
Passaul. 222-22 ..-Stahl, Mayer, et al..-.- - --1482 
Reutlingen =e John Opimanes o-oo. ---1482 
Vienna ------ ...John Winterburg.- ---.- -- -1482 
Madgeburg .-- .-Rauenstein, et al--- -1483 
Stockholm .-..--- e John Snellala == 1483 
Winterberg ----- .--John Alacraw. ---.-.- ---1484 
Heidelberg. ----- 2 reds-Misch =----2---« ---1485, 
TEA EIG) Oe) US A etn Reco John Sensenschiidt. -1485 
IBTint Peles ~ saaces Sees ee Stahl and Preinlein- - ---1486 
Munsters: .--.- ene JohnehAm burg eee --1486 
Sleswick ....-- ..- Stephen Arndes...s...-.-.----- 1486 
NOs hsi CN tomee tree se aheran ates beet Roce ocrOake ae 2 --1488 
Kuttenbere® <2 sas. e-aaee Von Tischniowa ....--....--.-- 1489 
TM SOIStAM ts saoee 2 = oe ase JoNMEKaAchelofen=asese- se seee- 1490 
liam Dung oases eae ase aeeee J sand ts Borchard::. 22.2. --=.. 1491 
Wid tOlil. «aon Soe = aa. carte eee Sete ee et ete tet te eee 1491 
Czernigovy -.-- IRZCLROOVIC ne. ee eee esa ~ 1492 
UGS Gay ae lt el 1492 
EVE OUPS sone ee eee Kilianus Piscator..........-..- 1493 
JObT se) Ue eA Ae OR cae oe JOHN AM COsan sees weenie = 1493 
THE SPREAD OF PRINTING. 

Place. Printer. 
Copenhagen ......-- 5.2.22. Gothof. de Ghemen 
Oppenheim 
Freisingen 
Offen burg. <-.s.<2 fe e~ ae Jones teres eae eewe ames ss a seas essen 
Tubingen... 
CLACO Wiese a eee see ee 
Diunich) sac) sean eae ee 
OlmUby S22 -ss-- = - 2 
Pfortzheim 


This is but a brief list for the 
vast and populous country north 
of Italy and east of France and 
the Netherlands. Not less re- 
markable is the fact that some 
cities now deservedly famous for 
their printing were among the 
last to acquire a knowledge of the 
art, and those that gave it feeble 
support. 

The master printers at Mentz 
pefore 1500, not previously named, 
were: Erhardus Reuwich, whose 
first book was dated 1486; Fred- 
eric Misch, who began after 1490; 
Jacob Meydenbach (a witness at 
the trial of 1455), between 1491and 
1496; and Peter Friedburg, be- 
tween 1494 and 1497. There may 
have been others, whose names 
are lost, but the printers are few ; 
they cannot be compared, either 
in number or in influence, with 
those of many smaller cities dur- 
ing the same period. Long before 
Scheeffer died, Mentz had ceased 


1 For a table of the chronological order in which 
printing was established in the Netherlands, see 
page 109 of this book. 


to be a great school and centre of 
printing. The high reputation of 
Scheeffer’s office was fairly sus- 
tained by his son John, who died 
in 1531. Peter Schceffer, junior, 
another son, was equally able, for 
he printed books in Hebrew, 
Latin, German and English. He 
found no proper encouragement 
at Mentz, and had to establish 
his office successively at Worms, 
Strasburg and Venice. His last 
known work, with date 1542, was 
printed at Venice, where itis sup- 
posed he died. Ives Scheeffer, son 
of Peter, junior, who succeeded 
John Scheeffer in management 
of the office at Mentz, was an in- 
dustrious publisher from 1531 to 
1552, the supposed year of his 
death. Victor, the son of Ives, 
gave up the business, and the 
name of Scheffer disappeared 
from the roll of printers at Mentz. 
Helbig, Notes et dissertations, etc. 
p. 47-50. 

STRASBURG. The statement of 
Lignamine, that Mentel printed 


GEORGE BRUCE’S SON & CO., Typn-FounprErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


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AGATE, No. 13. 


THE SPREAD OF PRINTING. 


at Strasburg after 1458, has been corroborated by the recent discovery 
in the Freiburg library of a Latin Bible in two volumes folio, which is 
known to have been printed by Mentel, and which contains the sub- 
scriptions of the illuminator and the written dates, in one volume of 
1460, in the other of 1461. As this book should have been in press at 
least two years, it may be regarded as evidence that printing was 
practised here as early asin Bamberg. Strasburg gave greater encour- 
agement to printers than Mentz, for sixteen master printers were 
working there before 1500. ; 

A description of this Bible, with other particulars of importance, was 
given by Dr. Dziatzko, the librarian at Freiburg, in a letter to Hessels, 
and by him printed in the introduction to the Haarlem Legend, p. XXi1. 

CoLoene. The tirst printer at Cologne was Ulric Zell. He was an 
industrious printer for more than forty years, but he never printed a 
book in German, nor did he adopt any of the improvements of the 
printers of Italy. He adhered rigidly to the severe style of his master, 
Scheeffer, printing all his books from three sizes of a rude face of 
Round Gothie Types. He was not a skillful nor even a correct printer, 
but he was a gineral publisher, and accumulated a large property. 
Madden says that he went to Cologne in 1462, and was engaged by the 
Brotherhood of the Life-in-Common at Weidenbach, near that city, to 
assist them with his new art of printing in their pious task of making 
books. His name appears for the first time in a book dated 1466, which 
date may be accepted as indicative of the time when he left the mon- 
astery and began to print on his own account in the city. 

The Brotherhood were forbidden by the vows they had taken to ask 
for alms or accept gifts, and were required to live by the labor of their 
hands. They devoted themselves to the duties of teaching school and 
copying books. At Weidenbach they were remarkably successful. 
They built a church in 1490 with the money they had made from the 
sale of manuscript and printed books. Madden says that the monas- 
tery of Weidenbach was not only a publishing house, but a prominent 
school of typography, and that there are reasons for believing that it 
gave instruction to Caxton, Jenson, Mansion and other famed printers. 

At the close of the fifteenth century, twenty-two printing offices 
had been established at Cologne. Among them was that of Arnold Ter 
Hoorne, who, despite his occasional bad presswork, deserves special 
notice as one of the first printers who made use of Arabic figures. 

Nurempere. Henry Keffer, who appeared as a witness for Gutenberg 
in the suit at law in 1455, is supposed to have established himself as a 
printer at Nuremberg about 1469. His name appears for the first time, 
in the imprint of a book dated 1473, from Thiol it seems that he was 
hired by John Sensenschmidt, a wealthy man of that city who aspired 
to be a publisher. This John Sensenchmidt subsequently went to 
Bamberg, and in 1481 there published the Bamberg Missal, with a text 
in Pointed Gothic types of five-line pica body, probably the largest 
text types ever usedina book. It 
was admirably printed and rubric- 
ated. In 1473, Anthony Koburger 


“aITOS 
SOLID. 


Tue SPREAD 


with an indifference to anachron- 
isms and a cool disregard of the 
incredulity of the reader that are 
amazing. The author had a keen 
relish for the marvelous — for men 
with one eye, with immense ears, 
with enormous legs, and like mon- 
strosities. The Dance of Death, 
which is reproduced on page 70 of 
this book, is one of the most meri- 
torious designs, but most of them 
are of small value. The fac-simile 
of Koburger’s map on this page 
should be contrasted with the map 
of Germany in any modern atlas 
It is presented as-an illustration of 
the medieval notion of geography, 
and as one of the first attempts at 
map-printing. 

Avaspure, The practice of typ- 
ography was brought to Augs- 
burg in 1468 by Gunther Zainer of 
Reutlingen, who is supposed to 
have been taught at Strasburg. 
He was the first printer in Ger- 
many who printed a book in Ro- 
man characters. He and his rivals, 
Bamler, Schiissler and Sorg, ilhis- 
trated their books so freely with 
wood-cuts as to provoke the re- 
monstrance of the fraternity of 
block-printers of Augsburg. In 
1477, Sorg printed the first illus- 
trated edition of the whole Bible ; 
in 1483, a description of the council 
of Constance, containing nearly 
one thousand engravings. 

Representing that the use of 
wood-ceuts by typographers was 
an infringement on the vested 
rights of the guild, the block-print- 
ers induced the magistrates to 
pass a law commanding printers 
not to use wood-cuts. Not deriving 
the benefits they expected from 
this restriction, the block-printers 


OF PRINTING. 


proposed to concede to the typog- 
raphers the right to use as many 
cuts as they pleased, providing 
they would agree to use only the 
wood-cuts made by regular en- 
gravers. This opposition may have 
caused Zainer’s retirement from 
business in 1475, but it did not 
check the business of the others. 
There were twenty master-print- 
ers at Augsburg before 1500. In 
1472, Melchior of Stanheim, abbot 
of the monastery of St. Ulric at 
Augsburg, established a printing 
office in his monastery, buying 
types and tools from other print- 
ers. He bought five presses of 
Schiissler for 73 florins, and had 
five other presses made for him 
by a joiner of Augsburg. The 
equipment of his office cost 702 
florins, which was then regarded 
as a large sum. 


IN THE NETHERLANDS. 


Urrecnut. Itis probable that the 
unknown printer of the four not- 
able editions of the Speculum, was 
at Utrecht before the arrival of 
Ketelaer and De Leempt in 1473. 
See chapter xv and pages 109-110 
of this book for a fuller description 
of the works of this printer. 

Louvain. —John of Westphalia 
came to Louvain in 1472, with some 
matrices of Round Gothic and Ro- 
man types which he had acquired 
in Venice, and began to fit up a 
pee office. In 1473, he pub- 

ished his first book. During the 
twenty-two years he was in busi- 
ness, he printed 120 works. Many 
were editions of the classics, and 
all were selected with reference 
to the requirements of the Univer- 
sity, from which he received the 
honorary title of Master of Print- 
ing. John Veldener, who began to 
print at Louvain in 1473, received 


OCEANS GERMANICVS FS 


began to print at Nuremberg. In 
a few years he acquired a great 
reputation as printer and publish- 
er: he had twenty-four presses at 
Nuremberg and offices at Basle 
and at Lyons. Lichtenberger says 
that he printed twelve editions of 
the Bible in Latin and one in Ger- 
man. That he merited his honors 
is implied by the testimony of Jo- 
docus Badius, his rival at Paris, 
who frankly said he was an honest 
merchant and the prince of print- 
ers. The success of Koburger did 
not materially interfere with the 
prosperity of his rivals, for there 
were seventeen master type-print- 
ers and many block-printers at Nu- 
remberg before 1500. Koburger’s 
most curious book is the Nwrem- 
berg Chronicle of 1493, a large and 
thick folio, edited or compiled by 
Hartmann Schedel, as a summary 
of the history, geography and 
wonders of the world. It contains 
more than two thousand impres- 
sions of wood-cuts, “ made by Wol- 
gemuth and Pleydenwurff, mathe- 
matical men, and cunning as de- 
signers.” 

These two thousand impressions 
were taken from about three hun- 
dred cuts: the cut that served for 
the portrait of Paris of Troy was 
used for Odofredus of Germany 
and the poet Dante of Italy. Wood- 
cuts professing to represent cities 
and battles in Greece and Syria 
were repeated for battles and 
cities in France and Germany, 


N 


GERMANL 
MAGIA 55 


Fac-simile, reduced, of part of Koburger’s Map of Europe. 


GEORGE BRUCE’S SON & CO 


a similar title. He boasted that 
he was expert in all branches of 
the graphic arts, but his skill was 
that of a mechanie. As a publish- 
er, he could not compete with John 
of Westphalia. (See notes on pages 
97 and 109), Thierry Martens, of 
Alost, was employed by John of 
Westphalia, probably as editor, 
soon after he arrived at Louvain. 
After receiving suitable instruc- 
tion, Martens was allowed to print 
some little books at Alost in 1473. 
He began to print at Alost in his 
own name in 1487, Necessity or 
the love of change compelled him 
to move his printing office many 
times between Louvain and Ant- 
werp. In 1529, he forsook printing 
and retired to Alost, where he died 
in 1534, at the age of eighty-eight 
years. In his business life of al- 
most sixty years he printed, be- 
side many other works, about 150 
books in Greek, Hebrew and Latin, 
He had a critical knowledge of six 
languages, and his ability as an 
editor was acknowledged by many 
scholars who were his friends and 
correspondents. Erasmus wrote 
his epitaph, and the town of Alost 
has put up a statue to commemo- 
rate his worth. 

Bruges. The name of Colard 
Mansion, a calligrapher of high 
merit and afterward the first typo- 
grapher at Bruges, is found in the 
records of a corporation of book- 
makers, between the years 1454 
and 1473. As his name does not 


.. TypE-Founvrers, No. 13 CHAMBERS-StREET, NEW-YORK. 


Agats, No. 14. 


THE SPREAD OF PRINTING. 


re-appear before 1482, it is supposed that he abandoned the guild and learned 
rinting. Many bibliographers say that he went to Cologne in 1473. Mad- 
en regards him as a pupil of the monastery at Weidenbach. Blades thinks 
that he was self-taught, or taught by some unknown printer, and that, as 
early as 1472, he began his Epogsetie work at Bruges, in which he was 
assisted by William Caxton. In 1476, he printed a little book in a new face 
of type in the French style. He was a skillful but not a prosperous printer, 
for he was obliged to eke out his scant income as a printer by occasional 
jobs of illumination. Soon after 1484, he left Bruges. It is not known 
‘where he went or when he died. John Brito, who succeeded Mansion 
was for many years the only typographic printer at Bruges. This neglect 
of ieee in a city renowned for the elegance of its manuscripts and the 
skill of its calligraphers shows that the professional book-makers regarded 
printing as an inartistic and mechanical method of making books. 
Goupa anp AnrwerRP. Gerard Leeu, the most industrious printer of 
his time, began to print at Gouda in 1477, but he went to Antwerp in 


‘daI'lOs 


SOLID. 


The Birth of Hye, from Zainer’s Edition of the Speculum Salutis. 


{From Heineken.] 
Tur SPREAD OF PRINTING. 


1484, where he continued to print until his death in 1493, He printed 
eight books in 1478; seven in 1479; nine in 1480; ten in 1482. In fifteen 
days he printed three books, one of 85, and another of 305 leaves. 
During the seventeen years he was in business he printed 150 books. 
His last book at Gouda was dated June 23, 1484; on the 18th of Sep- 
tember, 1484, he published at Antwerp, a book of 400 pages. Fifteen 
days after he completed another book. During the first six months of 
1485, he published one yolume each month. One of these books had 34, 
and another 76 engravings specially cut for the work. Imitating Ve- 
rard of Paris, he gave his later years to the translation and printing of 
romances and popular books. In 1493, he began to print Caxton’s 


Chronicle of England, in English and obyiously for sale in England, 
but he died before the work was finished. The eolophon of this book 
is a queer piece of mysterious English:... Enprentyd in the duchye of 
Braband, in the town of Andewarpe, in the yere of our Lord m. ccce. 
xouu. By maistir Gerard de Leew, a man of grete wysedom in all 
manner of kunyng: whych nowe is come from Lyfe unto the doth, 
which is grete harme for many of poure man. On whas sowle God 
almythy for hys hygh grace haue mercy. Amen. Van der Meersch. 
Imprimeurs Belges et Néerlandais, yol. 1. p. 119. 
IN ITALY. 
his is the order in which printing was established in Italy: 

Place. Printer. Date. 
Bublacoj222~-2sennnr<- 02-4 Sweinheym and Pannartz.-..----- 1465 
Rome. .-.----- ..Sweinheym and Pannartz.-....--- 1467 
Venice --.----- ..John de Spira-...-.----+---------- 1469 
Mulan’ 2 2<-- ..-Anthony Zarot-....--------------- 1470 
Foligno- ------ _...John Nummoeister- ---------------- 1470 
SDPOVE = sae ...John Reynard ---- -1470 
Verona = 24 = baeeese ae cena John of Verona. - - .-1470 
Treviso 2-2. -assecenes a=> Gerard de Lisa. ---.--------------- 1471 
Bologna ...-.--------+----- Balthazar Azzoguidi -..----------- 1471 
Porrara . ------..-.<2=555-3- Andrew Belfort. -....-.----------- 1471 
Naples.s.+22--ss--om--s5s=2 Sixtus Riessinger---..--.--------- 1471 
Pavigieso----.2--2css--nc0s Antonio de Carcano..--.--.------- 1471 
Florence....--------------- Bernard Cennini--.....----------- 1471 
Pivizano-.-2...5--s=225 508 Jacobus and others. ---.----------- 1472 
Padua - --- Balt. de Valdezochio.-.......----- 1472 
Mantua - -- Pietro Adam de Michael -...------ 1472 
Mondovi... ---------------- Antonio Mathiae, et al.-...------- 1472 


‘SGVaI VOId OL 8 HLIM 


WITH 8 TO PICA LEADS. 


GEORGE BRUCE’S SON 


Tur SPREAD OF PRINTING. 


Place. Printer. Date. 
JORloe ae sees eee eee Frederic Veronensis --....--------- 1472 
Cremona .-..----- ..-Paravisinus e? al_...-..---- ~-1472 
Parma) =. 2225 .-Andrew Portiglia ...-..---- -1473 
Bresoia .. 2-22. -- ..-Thomas Ferrandus. --.- ---- 1473 
Messina -.-.----- ..-Henry Alding.-......--.- --1473 
Vicenza. -....-.--- (2. John derReno. 22-2 .--.5=- - -1473 
Como. --De Orcho, et at. .....----- -1474 
Urine ee “Fabri and John de Petro - 1474 
Geog. sss. s 2 -Matthew Morayus, et al-. 1474 
Mod enieas= aera tee John Vurster 2.2.2.0... --1475 
UPrOn tars fee esas seen Hermann Schindeleyp - 1476 
Palermo a5 22-22 se-5 esse oF Andrew de Wormatia.. . 1477 
VARGO Seats 2 eee ae William de Linis ------ --1477 
GOH Sone so ne le Bart. de Civitali --.-- _-.-1477 
CORSET: 2 Rees Pam eee cece William de Canepa .-.------------- 1481 


Cotton, in his Typographical Gazeteer, specifies 
thirty-seven other places in Italy in which print- 
ing was done before 1500. 

Supraco and Roms. Conrad Sweinheym and 
Arnold Pannartz, two printers from Germany, set 
up a press in the monastery of Subiaco, near 
Rome, and there produced in 1465 the books first 
printed from types in Italy. ‘To please the taste 
of their Roman readers they made a new font of 
Roman types. It was not a successful effort, for 
the traces of Gothic mannerisms are noticeable in 
almost eyery letter. Not meeting with the en- 
couragement they desired, the two printers re- 
moyed to Rome in 1467. They began to print on 
a grand scale, making new fonts of Roman, Greek 
and Round Gothic types, enlisting the services of 
Bishop John Andrew as reader and corrector, and 
undertaking the publication of many large clas- 
sical works. They did not prosper. In the year 
1472, they petitioned the pope for relief, setting 
forth that they had printed 11,475 copies of twenty- 
eight works, a very large portion of which had 
not been sold, and that they were in great distress. 
In 1473, Sweinheym withdrew from the partner- 
ship, and began to engrave on copper maps for an 
edition of Ptolemy’s Geography. He died before 
the book was published, in 1478. Pannartz died 
in 1476. 

Ulrich Hahn, a printer of Bavaria, went to Rome 
in 1465, and began to print there in 1467. His first 
book was in Round Gothie types, but his Italian 
readers induced him to make for his second book 
a rude form of Roman types. He employed 


THE SPREAD 


Campanus, an eminent scholar, as 
reader and corrector, and associated 
himself with Simon Nicholas de 
Lucca, who acted as editor and pub- 
lisher of his books. At this time 
there were in Rome many printing 
offices, and the number increased, 
notwithstanding the complaints of 
Sweinheym and Pannartz, and also 
of Philip de Lignamine, that more 
books were printed than could be 
sold. Before the year 1500, there 
were or had been thirty-seven mas- 
ter printers at Rome. 

Venice. John de Spira, so called 
from Spire, the city in which he was 
born, was the first typographer at 
Venice. He began in 1469, by the 
publication of the Letters of Cicero 
in types of Roman form. Soon after 
he published an edition in folio 
of the Natural History of Pliny, 
which is regarded as one of the fin- 
est specimens of the printing of the 
fifteenth century. Proud of his fine 
work, but fearing competition, De 
Spira solicited and obtained from the 
senate, September 18th, 1469, exclu- 
sive rights as a printer in Venice for 
five years. The privileges seem to 
have been forfeited by his death in 
1470; but his printing office was 
managed with ability by his broth- 
er Vindelin, who succeeded to the 
business. 

Nicholas Jenson, the “ man skilled 
in engraving,” who had been sent to 
Mentz in 1458, and who, according to 


OF PRINTING. 


Madden, had thoroughly qualified 
himself in the monastery of Weiden- 
bach, seems to haye been the first of 
several printers who hastened to 
Venice to profit by the forfeiture of 
De Spira’s privilege. In 1471, he 
published his first book, the Decor 
Puellarum, in neat lighted-faced 
Roman types on Great-primer body. 
The printed date of this book is 
M.ccco.LxI. It is a curious cireum- 
stance that this exact printer should 
begin with an error which makes his 
first publication appear ten years 
earlier than it was. His experience 
at the mint of Tours as an engraver 
gave him a decided advantage over 
all his rivals. Roman types had 
been made before by Sweinheym, De 
Spira and Hahn, but never before had 
punches been so scientifically en- 
graved, nor types so truly aligned. 
Tt is not surprising that the efforts of 
his predecessors should pass for 
naught, and that Jenson has ever 
since been regarded as the introducer 
of Roman types. But Jenson dis- 
covered, as Hahn and De Spira had 
done, that, to secure buyers in Ger- 
many, it was necessary to print 
books in Gothic characters. With 
this object in view, he cut several 
fonts of Round Gothic, one on Bour- 
geois and one on Brevier body, the 
smallest sizes of types made in the 
fifteenth century. 

As aw printer, Jenson is entitled to 
high praise. None of his competitors 


& CO., TypE-FounpErs, No. 13 CHaMBers-STREET, NEW-YORK. 


145 


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146 


Agats, No. 15. 


THE SPREAD OF PRINTING. 


showed so much taste and skill in the details of hook-making. It is noticeable 
in every feature —in the tint and texture of his paper, in the glossy blackness 
of his ink, in the clearness and solidity of his impressions, in the uniformity of 
register and of color on every page. Jenson’s merits were recognized by Pope 
Sixtus rv, who, in addition to other marks of favor, bestowed upon him the title 
of count-palatine. He died in 1481. His printing office passed into the hands of 
an association of which Andrew Torresani of Asola was the manager. In time, 
Aldus Manutius, a partner in this association, married a daughter of Torresani, 
and got control of the office, the reputation of which he increased by his scholar- 
ship, by his numerous editions of the classics, and by his introduction of Italic 
types, but not by superior skill as a typographer. As a type-founder, printer 
and ink-maker, Jenson had no rival and left no proper successor. 

At the close of the fifteenth century, Venice took the lead of all cities, not only 
in the number of its printing offices, but in the beauty of its types and printing. 
Printers in other countries knew that they would secure for their types the high- 
est commendation by announcing them as the true Venetian characters, San- 
tander specifies 201 master printers who had been in business at Venice before 
1500. Bernard estimates the number of books then and there printed at two 
million volumes. 

Frorence. Bernard Cennini, an eminent goldsmith of Florence, began to 
print with types at that city in the year 1471. He said that he and his sons Peter 
and Dominic made the tools and types and did all the work without instruction, 
but the exact manner in which Cennini describes the cutting of punches and the 
founding of types makes this statement doubtful. Cennini never earned any 
reputation as a typographer, for it does not appear that he printed any book 
after 1471, Santander names twenty-two master printers at Florence before 
1500. The most noticeable of the number is Dominic de Pistoia, an ecclesiastic 
who founded a printing office in 1474, which is known in history as the Ripoli 
Press. Dominic was the abbot of a monastery, but he proved an active and 
intelligent publisher. He deserves notice chiefly for his care in keeping his 
accounts, which give us our most trustworthy information concerning the mate- 
rials and usages of the early printers. 

In 1479, Dominic made this contract for printing a book. The publisher Boni- 
face should furnish the paper, and should pay 10 livres for 200 copies of a book 
of 23 or 24 leaves of royal octayo or ordinary quarto. If he printed more than 
200 copies, he should forfeit all claims for work done. In another contract, made 
in 1480, Dominic agreed to print 100 copies of a book of 100 or 120 pages for 4 
florins in gold. The prices for printing seem insufficient, but the cost of labor 
was small. The compositors of the Ripoli Press were the sisters of a convent. 

Miuan. Anthony Zarot began to print at Milan in 1470 or 1471, having been 
hired by Philip de Lavagna, who seems to have been a capitalist and a publisher. 
In 1472, Zarot persuaded four citizens of Milan to unite with him in a new asso- 
ciation for the printing and publishing of books. The articles of agreement are 
curious, and deserve preservation. 

The partnership should be for three years. Zarot bound himself to furnish all 
the types, Latin and Greek, Roman and Gothic, and to make allthe ink. The four 
associates were to furnish the money. One of them, De Burgo, should advance 
100 ducats as soon as they could keep four presses steadily at work. If any part- 
ner should obstruct the business, he should lose all his rights. Rent should be 


THE SPREAD OF PRINTING. 


paid out of the general fund, Profits should be divided in three parts, of 
which Zarot should have one part, and the four associates, two parts. Zarot 
should pay the associates one-third the actual cost of the presses and other 
implements, which should become his property at the termination of the 
partnership. Current expenses should be paid out of the general fund from 
the profits of sales. The priest Gabriel (a partner) should be the agent, 
treasurer and general manager. He should have one copy of every book 
printed. Books for publication should be selected at a general meeting of 
all partners. The corrector and the copyists should be paid in printed books. 
Every workman should be bound by oath to keep the secrets of the part- 
ners, and was forbid to give any book to any other master printer of the 
city. If any partner wished to print a book on his own account, and could 
not agree with his associates, he would be permitted to have it done else- 
where.— Peter and Nicholas de Burgo immediately asked for the use of 
three presses or more, for works on common and civil law and medicine, 
they providing and paying for the presses and for working them, and half 
the current expenses of the office. They also agreed to give one-fourth of 
the profits, to pay a bonus of 25 dueats, and one copy of each book, provided 
the society would not sell it under price. 

The association seems to have been remarkably prosperous, for in 1472 it 
had seven presses at work. In 1473, the publisher Philip de Lavagna and 
his new partner Montanus made an agreement with Christopher Valdarfer, 
another printer at Milan, for the exclusive use of two presses. It will be 
seen that the business of publishing is almost as old as that of printing. 
Valdarfer agreed to set up the types of the books produced at the rate of 
24 imperials (?) for every 20 pages. The wary publishers took the precan- 
tion to specify in the agreement that the blank pages should not be counted. 

There was no part of Europe in which so great an enthusiasm was shown 
for printing as in Italy. The Senate of Lucca, by a vote of 38 to 9, voted 
to pay the priest Clement, a professional calligrapher and bookbinder (who 
had applied for the means to go to Venice and get a knowledge of the art) 
a subvention of two florins monthly, on condition that he should practise his 
art as a public officer, teaching all who wished to learn. Clement declined 
the offer, The only open opposition which the new: art encountered was 
made in 1472, by the copyists of Genoa, who complained that the typogra- 


phers were greedy, and that they deprived the copyists of their livelihood 
by undertaking to prinf little books. 


SCGVaLI VOId OL 8 HLIM 


‘aITOS 


SOLID. 


WITH 8 TO PICA LEADS. 


THE SPREAD OF PRINTING. 


IN FRANCE. 

Place, Printer. Date. 
Paris:5.322==~ssse-- see ee Ulrich Gering, et al .....-------.-- 1469 
Lyons eREAde acace os Buyer and Le Roy ....--.....-...- 1476 
Angersivascteasecatoenaee De Turre and Morelli-. eee ATT. 
Chablis: 222 24.-022esenekses Pierre le Rouge J..2.5-uis-5 52-4226 1478 
Poitiers 3 -J. Boyer and G. Bouchet ---------- 1479 
Touleuse.+. - sites secon en ebm ee ee nee eae eae aoe ame tae eens 1479 
Caen .-..-- -Ferrandus and Quijone -....-.-.---- 1480 
Vienne ..- f st:Pierre Schenek ioc, 22--s eseceee 1481 
Promentour).--<22-ssissrecsss hoysi(Gnenbin. 2. se eeneeeeas eee 1482 
TT NOWOR 5 2-035 ecee Hee eee le Guillaume le Rouge ........-.--..- 1483 
Chambery’ 225-5. .Saceteee es Antonious Neyret ....-..--22--2:-- 1484 
Bréand-Loudéhac.....-...--- RR. Monequetiiooa Jc. ceca cee eee 1484 
Rennes ay. =.\\sa cose eee eee Pierre Belleesculée- --- -----1484 
Abbeville S22 se eee Dupré and Gerard........-----.... 1486 
ROUG6n . . Seve ese ee eee Guillaume le Talleur -----.-.--...- 1487 
Besancon . ee ee as eer ey ee ys 1487 
Hagenau -- -Henry Grau ..- eee ae eee 1489 
WOU a= ae -Peter Metlinger: 2222222. sseseeen ee 1490 
Grenoble 2:45.26. 52 Cader ae eal a eee eee eee eee eee 1490 
Orleans - - =2- Matthiew (Vivian) oo02 se sess soe oeees 1490 
Dijon. so 2 Peter Metlingor. 22208-22222. ete 1491 
Angowléme, .o.gecesoss cnet oes cone eee ee eeeee oe eee 1491 
Clany....= =. -Michael Weengslers2. =. 222 2 38 1493 
Nantes sc cc oe eee ee ee Etienne Larcher - pee CE 
LAMOPES:\2.- BE eee pee John Bertow (22.05: o seb eee 1495 
Provins - - Pe eRe ee G. Tayermier 4. 22. -o2 oso: a sees 1496 
oarg 5-232 eee eee Matthieu Lateron..............--- 1496 
AVignon :. .oae- cececeeeetenes Nicol hepe =. 0 Site see ose eee 1497 
Treguier - e sos paints se RS Lhisis dace Malle me one date nerme ees 1499 
Guienne...-.-- Spel cistee eae! Se ce ciae ciaeemce mies | eee 1500 
Perpignan: ee eseseees nesses J. Rosembach.......222-<202+-002-- 1500 

Paris. About the close of the year Crantz and Friburger abandoned print- 


1469, Ulrich Gering, Michael Friburger 
and Martin Crantz began to print at 
Paris. To please the classic tastes of 
the doctors of the university who had 
invited them, their first book appeared 
in ght of Roman form. They were 
not skillful printers, for Chevillier says 
that letters half formed and half print- 
ed are noticeable in their earlier works, 
but they were industrious publishers. 
Like Jenson, they found it expedient 
to cut and cast types of the Round Go- 
thie fashion, for the Roman character 
was most admired by scholars. In 1477, 


Tue SPREAD 


pel some to improve the quality of their 
work, and to seek a new class of read- 
ers. Antoine Verard in 1480, and Phil- 
lipe Pigouchet in 1484, founded a new 
school of printing, when they under- 
took to make prayer-books and roman- 
ces in imitation of the style of the mini- 
atutists, In this style the pages were 
surrounded by narrow pictorial borders 
in pieces of irregular length. These 
piéces were repeatedly used on different 
pages, but always in new combinations, 
so as to present some feature of novelty. 
The groundworks of the borders were 
generally stippled. The large illustra- 
tions in the text were in outline, obyi- 
ously intended for coloring. Red letters 
were often printed on every page, but 
the larger initials were painted. Theil- 
mann Kerver, who commenced to print 
in 1497, was almost as famous as a 
printer of ornamental books. The grow- 
ing taste for fine books did not prevent 
the publication of solid literature. In 


ing, but Gering continued to print until 
his death in 1510. He willed a large 
property to the university. 

In 1473, Peter Keyser and John Stol, 
after a three years’ service with Gering, 
set up a rival printing office, the result 
of which was a reduction in the price 
ofbooks. Gering reprinted the books of 
Keyser and Stol as soon as he could pro- 
cure copies. Each house boasted of 
the superior accuracy and cheapness 
of its own publications. This competi- 
tion did not prevent other printers from 
founding offices in Paris, but it did com- 


OF PRINTING. 


1495, Jodocus Badius, a printer of great 
learning, who had been proof-reader for 
his father-in-law, Trechsel of Lyons, 
established an office at Paris, and began 
to print for men of education. In the 
following year came the famous Henry 
Stephens, first of a long line of printers 
eminent for their scholarship and dil- 
igence as editors and publishers of clas- 
sical and eritical text books. Before 
the year 1500, there were, or had been, 
sixty-nine master printers in Paris. 

Lyons. Lyons must have offered 
unusual inducements to master printers, 
for there were forty printing offices in 
that city before the year 1500. The 
printers of Lyons were busy publishers, 
and their competitors in Italy complain- 
ed with reason of their piratical edi- 
tions. They made liberal use of en- 
gravings on wood and copper-plate 
illustrations, They were also the first 
printers to sell cheap books in showy 
bindings, 


IN SPAIN AND PORTUGAL, 


Place. Printer. Date. 
Barceloni2j22.e2 es se -eeee se N. Spindeler... 5.2. .02--e. 1473 or 1478 
Valeencia - - ame ---Cordova and Palomar ..-.........- 1474 
Saragossa - - ---Matthew Flandrus -- ---1475 
Seville -.__- .--A. Martinez, et al... ---1476 
Segorbie sc osc. 2845 G 5 aes Se ---1479 
Tolosa - -- -.-Henry Maye -- 1480 
Burgos. -- ---De Basilea....... ---1485 
Salamanca: 5-235: oe: ene he een eee ---1485 
Soria -..__. ---Eliezar ben Alanta - ---1485 
Merce hss Sse eee tee ee eS ---1485 
Toledo -_. ---John Vasquez. --- ---1486 
Murcia. _.._ .--Juan de Roca .... ---1487 
WPATra¢ 01a 3/512 a Se John Rosembach. -- ~---1488 


eS eee | ee 


GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 


Agats, No. 21. 


Tue SPREAD OF PRINTING. 


Printer. 


Bowie cee saw Jas ees 
San Cucufute des Valles 
Ranhon a: stent secqc acco 


Pampeluna-...--.------- 

WIBTOONPIE 2 etin steele ~ eran 

yeni Bie es = seis eases -Abraham Dortas 
Grenada-...------------- -Meynard Ungut---.-.--- 

Riece arate mnaMNe MUL] olin Luchner.-.2.)3esc25. ftatce: 


IN GREAT BRITAIN, 


The first book printed in English, the Recwyell of the Historyes of Troye, a 
stout folio of 351 leaves, does not contain the date of printing, nor the name 
and place of the printer, but it appears from the introduction that it was 
translated from the French by William Caxton between the years 1469 and 
1471. When and where it was printed is a vexed question. Blades thinks 
that it was printed at Bruges by Colard Mansion and William Caxton, 
about 1472. Madden thinks it was printed at the monastery of Weiden- 
pach by Mansion and Caxton, who went there about 1474 to learn practical 
typography. Other bibliographers say that it was printed by Zell at Co- 
logne. The types of this Recwyell are thoroughly French, ae are like the 
larger types used by Mansion. Bernard thinks that these types were made 
and first used at Cologne, by the order of the Duke of Burgundy for the 
French edition of the same work. 

The monogram which was exhibited by Caxton in his later books — 
s W. 74. CG. c—is interpreted by Madden as William Caaton, 1474, Sancta 
Colonia. It is anindication that a notable event in his life was represented 
by the year 1474 and the city of Cologne, and it seems to authorize the 
conjecture that at this time and place he published his first book. In 
1475, Caxton printed, in the office of Mansion at Bruges, The Game and 
Playe of the Chesse. In 1477, he was ‘“‘in the abbey of Westminster, by 
London,” and then and there published The Dictes and Sayings of Philoso- 
phers, He was then a very old man, but he did good service as aprinter 
before his death in 1491. Blades estimates the entire product of his press 
at 18,000 pages, nearly all of which'were of folio size. Compared with his 
great rivals on the Continent, Caxton cannot be accorded high rank as 


editor or publisher, but there was no printer of his time who labored more 


diligently. 

In 1480, Lettou and Machlinia begam to print at London. Wynken de 
Worde, Richard Pynson, Julian Notary and William Faques were also 
printers of that city before 1500. 

In 1480, Theodoric Rood, of Cologne, printed at Oxford. In the same 
year, an unnamed printer, known to pibliographers as The School-master 
of St. Albans, was at Saint Albans. 

The ee ress in Scotland was put up at Edinburgh in 1507; the 
first in Ireland at Dublin in 1551. 

Printing was first practised in the New World in the city of Mexico, by 


Tre SPREAD OF PRINTING. 


Juan Cromberger, or his agent Pablos, between 1536 and 1540. Thomas, 
in his History of Printing, said that printing was done in Mexico before 
1569. The subsequent discovery of Mexican books with earlier im- 
prints has compelled a gradual putting back of the date to 1540, which 
is that of the earliest existing book. There is a tradition about a 
Mexican book said to be printed in 1536, but the book is not in exist- 
ence, and the correctness of this date has not been proved. MHarrisse 
quotes an author who says that printing was taken to Mexico in 1532, 


by the Viceroy Mendoza, and that Pablos was the first printer. But 
Mendoza did not go to Mexico until 1535. Pablos was the foreman of 
Cromberger, who had one office in Seville and one in Mexico, The 


second printing press in North America was put up by Stephen Daye 
at Cambridge, in 1638, and the first work printed on it, the Freeman's 
Oath, was dated 1639. 

The German origin of printing is fairly shown by the names, unques- 
tionably German, of nearly all the men who introduced printing in 
Southern Europe. The workmanship of these men leads to the same 
conclusion, for the expert will see in their books evidences of the use 
of the punch, mould, press, and frisket. Whether done well or ill, 
printing was done with the tools and by the methods of Gutenberg. 

Printing did not meet with general welcome, but the neglect or oppo- 
sition it encountered did not come largely from the copyists. The 
business of the copyist of cheap books was injured, but the only com- 
plaint that I have met came from the copyists of Genoa. The calli- 
grapher was indifferent to the growth of the new art, for his skill was 
never in higher request nor more handsomely rewarded than at the 
close of the fifteenth century. So far from injuring the business of 
the calligrapher, printing really improved it, for it largely increased the 
production of books intended for illumination. The neglect of literary 
men to note the Bible of 42 lines and the Catholicon of Gutenberg, the 
delayed establishment of a printing office at Paris, the indifference 
shown to printing in the great book-making town of Bruges, and the 
insufficient patronage bestowed on the early printers at Rome, are 
evidences that there was, in the beginning, a prejudice against printed 
books much more powerful than that of the copyists. The bibliophiles 
of the time looked on printed books as the productions of an inartistic 
trade. The admiration which has been recently invoked for the Bible 
of 42 lines as a book of nearly perfect workmanship was not expressed 


‘SGVa@TI VOId OL 8 HILIM 


“d1I'TOS 


SOLID. 


WITH 8 TO PICA LEADS. 


THE SPREAD 


by any early book-buyer. It does 
not appear that any book-lover of 
that period regarded this work, or 
the art by which it was made, as of 
high merit. The error seems par- 
donable, for the printed book was 
not as attractive as the manuscript, 
and no one foresaw the future of 
printing. Gutenberg may have had 
a clearer idea than any man living 
of its capabilities, but it is not prob- 
able that he foresaw the wheels 
within wheels which his types would 
put in motion, or heard the clash and 
roar of the innumerable presses for 
which there should be no night and 
scarcely a Sunday of rest, or dream- 
ed that books, schools, libraries, 
newspapers and readers were yet to 
appear in a world then undiscovered, 
in numbers so great that they could 
not be counted. 

The activity of the early printers 
is remarkable. The task of presery- 
ing the literature of the world was 
fairly done at a very early date. 
There were not many books that 
promised to be aalaple and profit- 
able, and some of them were scarce, 
and copies were obtained with diffi- 
culty—but nearly every valuable 
book was found and printed. Nandé, 
the librarian of Cardinal Mazarin, 
said that, before the year 1474, all 
the good books, however bulky, had 
been printed two or three times, to 
say nothing of many worthless 
works which should have been burn- 
ed. The same work was often print- 
ed in the same year, by four or five 
rival printers in as many different 
cities. The catalogue of Hain very 
minutely describes 16,290 editions, 


which, at the low estimate of 300 


copies for each edition, represents a 
total production of 4,887,000 books. 

This is Hallam’s enumeration of 
the books printed in large cities be- 
fore 1500: 


THe SPREAD 


twenty; those that were worth 
twenty, for four at most. It is a 
great thing, holy father, to say, that: 
in your time the most estimable 
authors are attainable at a price 
little exceeding that of blank parch- 
ment or paper.” 

The failure of many early printers 
to make their business profitable 
was largely caused by their injudi- 
ctous selection for publication of 
bulky theological writings which 
cost a great deal of money to print, 
and were salable only to a small 
class. It was unwisely supposed 
that printing would receive its great 
support from the ecclesiastics. With 
this object in view, the first printers 
printed almost exclusively in Latin, 
and generally in the expensive shape 
of folio, the books which could be 
read only by the learned, and bought 
only by the wealthy. The Bishop of 
Angers in 1470 paid 40 crowns of gold 
for a copy of the Bible of 1462. The 
Catholicon of Gutenberg sold for 41 
crowns of gold in 1465. A copy of 
Mansion’s edition of the Consolation 
of Philosophy by Boethius, brought 
40 crowns in 1481, A missal was sold 
in 1481 for 18 gold florins. Bernard 
notes a sale in which a printed copy 
brought a higher price than a man- 
uscript. A copy on vellum of the 
Summary of St. Thomas by Scheffer, 
was sold at Paris for 15 crowns of 
gold. A manuscript of similar size 
was sold for 10 crowns. Itis difficult 


ee es ee 


oF PRINTING. 


WMlorence sesarpasa=s ace 300 

ys een oe a Be ae 629 
Bologrisn. ee eesseeas 298 
Romets seesey-seasene 925 
DVOniGer pes eaee se ea 2835 
(hondonis se ses- pe eee 2 aee 130 
(Paris sven s eset 751 
Oplogne—-.-2 6 <<--~ate7< 530 
Nuremberg -..--.--------- 382 
DDOIpSiGi see reese 351 
Basleen season ecscce=- 320 
Stnasburgednemec-es=s- 526 
Augsburg -256 
howvain’:=.--3--- -116 
Menta: See vee -. -134 
Deyentetes es ss-s-=——-e 161 


If allowance be made for the books 
that are lost, these numbers are too 
small, but the list will give a correct 
idea of the comparative activity of 
the early printers at different places. 


During this period were published 
291 editions of Cicero, 95 of Virgil, 
57 of Horace, 91 of the Latin Bible 
and many hundreds of the decretals 
and digests of canon law. 

The attention of the literary world 
was first arrested, not by the possi- 
bilities of future usefulness in print- 
ing, but by the growing cheapness 
of books. The early printers offer- 
ed their books at less than the mar- 
ket prices of manuscripts, but in a 
few years they were obliged to re- 
duce the prices still lower. The 
market was soon glutted, and the 
prices fell rapidly and irretrievably. 
Chevillier says that, at the close of 
the century, the price of many books 
had been reduced by four-fifths. In 
the preface to a book printed at 
Rome in 1470, John Andrew, the 
pishop of Aleria, addressing Pope 
Pius 0, says: 

“Tt reflects no small glory on the 
reign of your holiness that a toler- 
ably correct copy of such a work as 
formerly cost more tham a hundred 
crowns may now be purchased for 


OF PRINTING. 


to form just conclusions from these 
prices, for the bindings of the books 
have not been described. Hallam 
says that the florin was worth about 
four francs of present money, equiv- 
alent, perhaps, to twenty-four in 
commodities, and that the crown 
was worth rather more. Another 
estimate allows to the money of the 
fifteenth century eight times its pre- 
sent purchasing power.—The print- 
ers’ hopes of profit were rarely ever 
realized. Only a few like Zell, Men- 
tel and Scheffer became successful 
merchants of books on dogmatic 
theology. It was soon discovered 
that printing could not be supported 
by ecclesiastics. The printers who 
had been induced to set up presses 
in monasteries did not long remain 
there, nor did the printing and pub- 
lishing offices which they left pros- 
per for many years. Books of devo- 
tion were never in greater request, 
but books published by the church 
did not fully meet the popular want. 

Nearly all the books printed by 
Gutenberg and Schceffer were in the 
Latin language. Whether they over- 
looked the fact that there was an 
actual need for books in German, or 
whether they were restrained in an 
attempt to print in German, cannot 
be decided. Other publishers saw 
the need, and disregarded the re- 
straint, if there was any, to the great 
inquietude of ecclesiastics, who 
seem to have had forewarning of 


GEORGE BRUCE’S SON & CO., Typr-FouNnDERS, No. 13 CHaMBERS-STREET, NEW-YORK. 


147 


ve aie ys ; pet M 


hors (har 


f rahe w 


yell ya eae 
raat sae 


’ 
1d 
ys 
ag 


a) a 
: te =e 
Freee abe ig doe Is 
cece bale ine ti 4 7 
OP en i ad ae f : A“ i : 
AT get aap ola wy : 
om vet) ‘ : itis 
DY hee Ge Kl H-< 
pag Sapet Sf, 
Aa Gew iy as 
hays Kees Gl frie call Gee" ohn. 
oh -yyttip wer eis = 
me bie -di  Qre= 
o+4 Sep) © a> aaa 
Pex ae hy boom 
re oe am wh} 
et ppwaty 
ee ee eo tone 
"ae or 
babe ey ee 
sede Al peg LEN Se © 
Pa. ee pars Si 
A ee ary ' (@,! ; J ‘ a aa 
hore ee ad CS ee » as we ; rhe oat 
ad Gel) lh, oe a ey eh Re yn! 4 ; { pele 
nena pre peo! bag OOF u Meat wind ie 
A cipher tte ay ae A, 6 wis), divert 5 ‘Tra ore i oh llealiee 
i a wii tT nel, Vette pil ‘ btnys un all . ‘ lac 


Spe mshi ih nad ha 


Ls n . , ; ; 

I ae eo Linp- alti Age, eae AY hse ee ? Manu | ial it, 
Pe Breed il il 

—_ ae : 


i nip oth a nel, et . 


é 
gen ee 


148 


“ 


Tue Spreap or PrRintING. 


the mischief that would be made by types. On the fourth day of January, 1486, 
Berthold, the archbishop of Mentz, issued a mandate in which he forbade all per- 
sons from printing, publishing, buying or selling books translated from the Greek 
or Latin, or any other language, before the written translation had been approved 
by a committee which should be appointed for the purpose from the faculty of the 
Universi y of Mentz. The penalties were excommunication, confiscation of the 
books, and a fine of 100 florins of gold. 

The mandate is too long for an unabridged translation, but the following extracts 
will fairly set forth the reasons for his action : 

“ Although, by a certain divine art of printing, abundant and easy access is 
obtained to books in every science... yet we have perceived that certain men, led 
by the desire of vainglory or money, do abuse this art; and that which was given 
for the instruction of human life is perverted to purposes of mischief and calamity. 
For, to the dishonoring of religion, we have seen in the hands of the vulgar certain 
books of the divine offices and the writings of our religion translated from the 
Latin into the German tongue.... Some volumes on this subject, certain rash un- 
learned simpletons have dared to translate into the vulgar tongue, whose transla- 
tion... many learned men have declared unintelligible, in consequence of the very 
great misapplication and abuse of words... Let such translators, if they pay regard 
to truth, say whether the German language be capable of expressing that which 
excellent writers in Greek and in Latin have most accurately and argumenta- 
tively written on the sublime speculations of the Christian religion and the knowl- 
edge of things. They must acknowledge that the poverty of our idiom renders it 
insufficient,... they must corrupt the sense of the truth in the sacred writings... 
which, from the greatness of the danger attendant upon it, we greatly dread; for 
who would leave it to ignorant and unlearned men and to the female sex, into 
whose hands copies of the Holy Scriptures may have fallen, to find out the true 
meaning of them?” 

This was not the first restriction imposed on the liberty of the printers, for the 
University of Cologne in 1479 had assumed the right to control the printing of 
books by Quentell and Winters. 

In Italy the revival of classical literature opened a new field for the publisher, but 
the demand for Latin authors was limited, In this country, and in others, eager- 
ness for books in the native language was manifested; for books that plain people 
could read; for books that represented the life and thoughts of the living and not 
of the dead. The world was getting ready for new teachers and for a new litera- 
ture —for Luther and Bacon, for Galileo and Shakespeare. 


‘aTI08 


torvitatibusprfis mbil waprijs Mtedo dice: 


mn fequentilys fed duitapat autenti coz i 
pagmaserba fichier cirale onctte fe 
potiTimii: nifi qr alum todorem noiat \C |; 
prams weba (tatimfequintserba bt. | 
mecpiple ommes vitetur goiter mgrse -| 
sellevev bite $i ftertntijs prorumagitur 


nae 


A Type of the Fifteenth Century, 
[From Madden.] 


xXXVI 
THE TOOLS AND USAGES OF THE EARLY PRINTERS. 


Punches made by Goldsmiths . . . Styles of Types imitated from Manuscripts... Popularity of the Gothic. 
Moulded Matrices... Types made without any System... From an Adjustable Mould... Appearance 
of Early Types. arge Fonts made... Importance of Mould... Rudeness of Early Composition. 
Method of Dictation... Faults of Compositors... Slowness of Improvement... Construction of the 
Hand-Press, with illustration ..- Inking Balls, with illustration... Slowness of Pressmen... Printing 
in Colors. . . Printing Ink... Ingredients used by the Ripoli Press... Moxon’s Complaints about ink, 
Neglect of Engraving on Wood . . . Peculiarities of Paper. . . ‘The Degradation of Engraving... Proof- 
reading at Weidenbach .. . Faults of First Editions. . . uperiority of Printed as compared with Man- 
uscript Books... Permanence of Gutenberg’s Method. 


All invention is progressive... When a new machine-is produced, we do not say, Why, it only consists 
of a number of wheels and cylinders, therefore, surely there is nothing new in it! All the parts may 
be old, and yet the combination be quite new. To analyse an invention into its several parts, would 


be equivalent to finding that a poem was only composed of the letters of the alphabet, or the words in 
adictionary. Dircks. 


Tue first processes in the practice of typography —the cutting of punches and 
making of moulds—demanded a degree of skill in the handling of tools and of 
experience in the working of metal rarely found in any man who undertook 
to learn the art of printing. They were never regarded as proper branches of 
the printer’s trade, but were, from the beginning, set aside as kinds of work 
which could be properly done by the goldsmith only. Jenson, Cennini, Swein- 
heym and Veldener seem to have been the only printers of the fifteenth cent- 
ury who had the preliminary education that woud warrant them in attempt- 
ng to cut punches with their own hands. 

Not every goldsmith could do this work with neatness, and for this reason. 
as well as for the sake of economy, many beginners bought their matrices from 
the printers who owned punches. In some cases the types were bought out- 
right, but matrices which gave the means of renewing a worn-out font must 
have been preferred. That there was a trade in matrices before type-foundries 
for the trade were established is shown by the appearance of the same face of 
type in many offices. The Round Gothic types cut by Jenson were frequently 
used by printers in France and Germany. Certain faces of types used by 
ari oe oe der Goes, by Leeu and Bellaert, by Machlinia and Veldener, 
are identic: € same, and i 
eee chin 5 must have been cast from matrices struck from 

Gutenberg’s employment of the goldsmith Dtinne at Strasburg, 
ment to him of a big sum for work connected with printing, : 
satisfactorily explained by the conjecture that Diinne was hired ‘t 


and the pay- 
can be most 
0 cut punches 


x 


ow 


G 


‘SCVAT VOId OL 8 HLIM 


PEARL, No. 11. 


SOLID. 


WITH 8 TQ PICA LEADS. 


Tur Toots or THE Harty Printers. 


and make a mould, I find no mention 
of punch-cutting or mould-making at 
Mentz, but there is, in the accounts of 
the Ripoli Press, an unequivocal notice 
of one John Peter of Mentz, who was 
selling matrices to the printers of Flor- 
ence in 1476. It is evident that this John 
Peter had experience in this branch of 
typography. The Ripoli Press bought of 
him, in 1477, the matrices of a full font 
of Roman, for 10 florins in gold. John 
Peter was not the only punch-cutter. In 
1478, the Ripoli Press paid the goldsmith 
Benvenuto 110 livres for the punches of 
three fonts—two of which were of Ro- 
man and one of Gothic face. In 1481, 
another goldsmith, Banco, made a sale 
to the manager of the Ripoli Press, of 
100 little letters, 3 big letters, and 3 
vignettes on copper.” 

The styles of the early types were not 
invented by printer or punch-cutter. 
The Pointed Gothic letters of Guten- 
berg’s Bibles and of the Psalter of 1457 
are like those of the choice ecclesiastical 
manuscripts of that period. The Round 
Gothic letters of the Catholicon and of 
the Letters of Indulgence are of the form 
then used by German copyists in popular 
books. In Italy, the first types were cut 
in imitation of the popular form of Ro- 
man letters, or in the southern fashion 
of Round Gothic; in the Netherlands, 
they present the peculiarities of Flemish 
writing; in France and Burgundy, they 
were, for the most part, in the favorite 
French style of Bdtarde ancienne. In no 
instance did the printer invent a new 
style: he did no more than direct his 
Ponce cutte to imitate, as closely as 

ne could, the letters of a meritorious 
manuscript. In this matter, as well as 
in the arrangement of types, he followed 
the fashion set by an Spread copyist 
or calligrapher. The peculiar characters 
of different languages were produced as 
they were required, somewhat slowly 
and of unequal merit, by different print- 
ers, Square notes of music, partly writ- 
ten, partly printed, are seen in the Psal- 
ter of 1457. Greek letters were made by 
Scheeffer and Sweinheym, but the first 
book in Greek was printed by Paravi- 
sinus at Milan in 1476. Hebrew types 
were made at Soncino in 1488, At the 


close of the century, a German printer 
at Paris made an imitation of writing, 
but the letters were not connected, and 
and the only penmanlike features were, 
in the capitals. About 1500, Manutius 
had the engraver Francis of Bologna cut 
punches for Italic types, in imitation of 
the handwriting of Petrarch. The limit- 
ations of typography were not fully per- 
ceived, and many unsuccessful attempts 
were made to produce types and sec- 
tional wood-cuts that could be used in 
the construction of maps, ornaments 
and pictures. 

Jacob Bellaert of Haarlem combined 
isolated engravings, cut for the purpose, 
in the belief that each combination 
would seem a new engraving. Kerver 
tried to give variety to his pages by vary- 
ing combinations of detached pictorial 
borders. But it was quickly demon- 
strated that typography could deal suc- 
cessfully with letters only, The large 
ornamental initial letters of books were 
not cast, but cut, sometimes on wood, 
oftener on metal. Small and ornament- 
ed capital letters were cast by Mentel of 
ya urg, and by Ratdolt.of Venice in 
147. 


‘The Gothic character was more popu- 
lar than the Roman, but there were me- 
chanical reasons why many eee 

referred it. 1t was not so quickly cut, 

ut its broad face, free from hair-lines, 
was more readily founded. It could be 
inked with facility and printed with 
more evenness of color, and it would 
not show wear as soon as the Roman. 
Early printers who had no Roman, were 
loud in their praises of the Gothic. 
Colonna and Manthen at Venice said 
that their Gothic was a “sublime letter.” 
John Herbort, in 1483, said his was “a 
most captivating letter, unquestionably 
excelling all others.’? Nicholas Prevost 
said his book was printed ‘‘in types the 
most beautiful and most becoming for 

olite literature.” Cheyalon said his 

othic was ‘‘the polite and fashionable 
letter.”’ It was preferred Bi Verard, Pi- 
gouchet, Kerver, and nearly all French 
and Flemish printers. It did not entirely 
go out of fashion in Southern Europe 
nor in France until the close of the six- 
teenth century. It might have been 


Tue Tooxs or THe Harty Privrers. 


supplanted by Roman characters in Ger- 
many, if there had not been at this time a 
strong prejudice against Roman customs 
and fashions of all kinds. Attempts at 
change were frequently made, but they 
were always unsuccessful. 

The steel bought for the type-foundry 
of the Ripoli Press was probably intend- 
ed for punches. The use of this metal 
in other type-foundries may be inferred 
from the sharpness, when new, of many 
fonts of early types. That the moulds 
were of brass is indicated by the allu- 
sions of early writers and printers to 


- types made in brass. The matrices were 


of copper, but it is not probable that 
they were struck in cold metal, for it 
required great force and still greater dis- 
cretion to strike the punch truly, and the 
risk of breaking it had to be hazarded. 
For the matrices of the large types of 
Gutenberg’s Bibles and the Psalter of 
1457, copper softened by heat should 
have been, and probably was, provided. 
In France, the punches are struck in 
hot copper to prevent their breakage. 

‘When the secrets of type-making had 
been divulged, the printers who found 
difficulties in making or buying matrices 
tried to evade its necessary conditions 
and cheapen its processes. The types 
of wood with holes for wire, described 
by Specklin and others, must have been 
punches of wood which had been made 
in the belief that it would be cheaper to 
cast words than to cast and compose 
single letters. The matrices of lead 
noticed by Enschedé were probably 
made by striking the punch of wood in 
half-melted metal, after the process de- 
scribed by Didot. The punch of wood, 
burned by contact with hot metal, was 


a fae Ae ee Oe ee ee 


GEORGE BRUCE’S SON & CO 


repaired, altered and renewed; the mat- 
rix of lead, clogged by the adhesion of 
metal, became defaced, and was soon 
worn out. Every change in the punch 
or matrix produced a corresponding 
change in the cast type. 

“T know by experience that the ordi- 
nary metal used for types can be cast in 
a matrix of lead to the number of 125 or 
150 types before the matrix will be de- 
stroyed. After 50 or 60 castings, there 
will be an alteration in the mould; the 
finer lines will disappear and ruder lines 
will be presented. This will account for 
the differences that the same letters pre- 
sent on every page.”’ Magazin Encyelop, 
de Millin, 1806, vol. 1, p. 74, as quoted by 
Bernard, vol. 1, p, 299. 

The types of the fifteenth century 
were made without system. The dimen- 
sions of each body and the peculiarities 
of each face were determined chiefly by 
the manuscript copy which had been 
selected as the model. No printer had 
any idea of the advantages to be derived 
from a series of regularly graduated 
sizes, nor of the beauty of a series of 
uniform faces, nor of the great evils they 
would impose on themselves and their 
successors by the use of irregular bodies. 
Gutenberg’s larger bodies were irregu- 
larly graduated and of Pointed Gothic 
face; his smaller bodies were not sepa- 
rated at proper distances, and were of 
Round Gothic face. The unknown 
printer had four faces and four bodies of 
the size English. Caxton had two faces 
and two bodies each of the sizes Paragon, 
Great-primer and English. The types 
of many printers at Paris and Venice 
show irregularities of body which seem 
inexplicable to the modern printer. 


-, Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


PEARL, No. 16. 


Tue Toons or THE EARLY PRINTERS. 


A classification by seale of the types of any printer of this period will show that 
there are often wide gaps between the larger, and confusing proximities between the 
smaller, bodies. The smallest sizes which I have met in any book of the fifteenth 
century are in the Decretals of Gregory, printed in black and red by Andrew Torresani 
at Venice in 1498, in which book the text is in Bourgeois and the surrounding notes are 
in Brevier. Nonpareil was first made by Garamond of Paris about the middle of the 
sixteenth century. Diamond was made by Jannon of Sedan about 1625. Nothing 
smaller was attempted until 1827, when Henry Didot, then 66 years old, cut a font on 
the French body of 244 points—a body known to American printers as Brilliant, or 
Half-nonpareil — about twenty-five lines to the American inch. c 

As the size of every body is determined by the mould in which it is cast, it would 
seem that there must have been a separate mould for every distinct body. (It has been 
suggested that these distinct bodies were founded in sand moulds; that a new pattern 
for the body was made every time a new font was cast; and that the irregularities in 
body are the results of unintended or undetected variations in the pattern. But this 
hypothesis cannot be accepted. The small bodies, the sharp edges, close fitting-up and 
even lining of the types, are peculiarities which could not have been produced by a sand 
mould, nor by a mould of any plastic material.) This inference is encumbered with 
fatal objections. The type-mould of hard metal is, and always has been, a very 
expensive tool, and it cannot be supposed that any early printer made two or four 
moulds for one body when one mould would haye served. It is much more probable 
that he tried to make one mould serve for two or more bodies. The inventor of the 
mould may have thought that it should be constructed with adjustments, s0 that it 
should cast different bodies as well as different widths of types. The practicability of 
a mould of this description is properly demonstrated by the old-fashioned adjustable 
mould for irregular bodies, or by the mould used for casting leads, which can be : 
enlarged or diminished that it will cast many bodies or thicknes If we suppose 


that this mould was used by Gutenberg for casting the two bodies of the Letters of 


Indulgence, and by the unknown printer of the Netherlands for his four bodies « 
English, and that it was, of nece y, newly set or adjusted each time a new font was 
cast, we shall at once have a precise explanation of irregularities which are wnac- 
countable under any other hypothesis. Casting types without the system standards 
and gauges which modern type-founders use, it is not surprising that the f printers 
made types with differences of body. It was the impracticability of casting in this 
primitive mould, at different times, types 
of uniform body, that compelled later type- 
founders to discard it, and to use instead 
a mould for each body. 

The casting of the types, which was al- 
ways done in the printing office, was then 


“dITO$ 


SOLID. 


Tue TooLs OF THE EARLY PRINTERS. 


There is a disagreement among bibliog- 
raphers about the quantity of types ordi- 
narily cast for a font by the early printers. 
Some, judging from appearances which 
show that one page only was printed at 
an impression, say that they cast types for 
two or three pages only; others maintain 
that they must have had very large fonts. 
That the latter view is correct seems fully 
established after a survey of the books 
known to have been printed by Zell, Ko- 
burger, Leeu, and others. It would have 
been impossible to print these books in the 
short period in which we know they were 
done, if the printer had not been provided 
with abundance of types. As the types 
were made in the printing office, by a 
quick method, from an alloy which could 
be used repeatedly for the same purpose, 
the supply was rarely limited by consider- 
ations of expense. 

Bernard believes that Gutenberg cast for 
the Bible of 42 lines at least 120,000 types, 
or enough for two sections, or forty pages. 
He supposes that twenty pages were per- 
fected, and ready for press or under press, 
while the succeeding twenty pages were 
in the compositor’s hands. This would 
be the method adopted by the modern 
printer, and it may haye been the method 
of Gutenberg, but it is probable that the 
difficulties connected with the new art 
compelled him to print the book more 
slowly, and with imperfect system. But 


adjudged a proper part of a printer’s trade. 


The earlier chroniclers said the first types 
were made of lead and tin. The Cost Book 


of the Ripoli Press specifies these metals, 
and obscurely mentions another which 
seems to have been one of the constituents 
of type-metal. If this conjecture can be 
accepted, types were probably made in the 
fifteenth century as they are now, of lead, 
tin and antimony. (See page 32 of this 
book.) Was this obscure metal antimony? 
The text books say that antimony was, 
for the first time, set apart as a distinct 
metal in 1490, by Basil Valentine, a monk 
of Erfurt. But Madden says that a book 


supposed to have been printed at Cologne, 
before the year 1473, plainly describes anti- 
mony as a metal frequently used and much 
abused by many monks of the thirteenth 


century in their pharmaceutical prepara- 
tions. Lettres dun bibliographe, 4th 
series, p. 115. Not one of the millions of 
types founded during the fifteenth century 
has been preserved, nor is there in any old 
book an engraving or a description of a 
type. This neglected information has been 
unwittingly furnished by a careless press- 
man in the office of Conrad Winters, who 
printed at Cologne in 1476. This pressman, 
or his mate, when inking a slackly justified 
form, permitted the inking ball to pull out 
a thin-bodied type, which dropped sideways on the face of the form. The acci- 
dent was not noticed; the tympan closed upon the form, and the bed was drawn 
under the platen. Down came the screw and platen, jamming the unfortunate 
type in the form, and embossing it strongly in the fibres of the thick wet paper, 
in a manner which reveals to us the shape of Winters’ types more truthfully 
than it could have been done even by special engraving. (See illustration on 
preceding page.) The height of this type is a trifle less than one American inch. 
It agrees exactly with the old French standard (of 1723) for height of type, which 
was 1015 geometric lines, or, by modern French measure, 24 millimetres. Four- 
nier, Manuel typographique, vol. 1, p. 125. The sloping shoulder, or the beard, as 
it was once called, was made to prevent the blackening of the paper, for it would 
have been blackened if the shoulder had been high and square. The sloping 
shoulder, which was in general use in the first quarter of this century, was dis- 
carded to meet the requirements of the new art of stereotyping. It was found 
that these sloping shoulders made projections in the plaster mould, which imperiled 
the making of an accurate cast. The blackening of the sheet from square shoulders 
was prevented by altering the mould and placing the shoulder lower on the body. 
The circular mark, about one-tenth of an inch diameter, on the side of the type, 
was firmly depressed in the metal, but did not perforate it. As this type had no 
nick on the body, it is apparent that the circular mark was cast there to guide 
the compositor. When the type was put in the stick with the mark facing out- 
ward, the compositor knew, without looking at the face, that it was rightly placed. 
There is no groove at the foot. Duverger says that the early types had no jet or 
breaking-piece; that the superfluous metal was cut off, and the type made of 
proper height by sawing. (See page 126 of this book.) These details may seem 
trifling, but they are of importance: they show that, in the more important feat- 
ures, the types of the early printers closely resembled ours. 


Presswork and Composition as done in 1564 


SaVaT VOId OL 8 HILIM 


(From Jost Amman.] 


WITH 8 TO PICA LEADS. 


WML 


ing office. The roving habits of the masters 
will not seem so strange when it is known 
that the equipment of the early office was 
simple, and that the more expensive tools 
could be carried with little difficulty. 

This Dlustration, a fac-simile of one of 
Amman’s engravings of a printing office, 
is from his book dated 1564, The case for 
the type is of one piece and is resting on a 
rude frame. All the boxes are represented 
as of the same size, but this is probably an 
error, for it is an error which is frequently 
made by designers of this day. The en- 
gravings of cases shown by Moxon have 
boxes of unequal size, No doubt, they were 
so made from the beginning, for a day’s 
experience would teach any compositor 
that his case must have a larger box for 
the letter e than for the letter x. In this, 
and in many other early illustrations of 
type-setting, the compositors are seated on 
stools. In Italy and in Paris, women were 
employed as compositors. In the wood- 
cut (see following page) used by Jodocus 
Badius for a trade-mark, we see a hard- 
featured dame before a narrow case, com- 
posing types with judicial deliberation. 


the printers who followed him certainly 
used quick methods, 

The trades of compositor and pressman, 
and possibly that of type-caster, were kept 
about as distinct then as they are now. 
There were more compositors than press- 
men, and the compositors, says Madden, 
in the heroic age of printing, were not boys, 
but men of education and intelligence. 
The early printers who were taught the 
business that they might become masters 
had to pay a premium for their education, 
Caxton said that he had “practysed & 
learned at [his] grete charge and dispense 
to ordeyne this said booke in prynte.’”” 
In the brief time that they gave to the 
work, their education must have been 
more theoretical than practical. As the 
branch of composition required the largest 
number of workmen, and more intellig- 
ence, and less manual labor than any other, 
it was usually selected by the pupil for 
practice. Of type-casting and presswork 
he learned no more than was sufficient to 
enable him to direct the labors of his future 
workmen. The knowledge of the trade 
which the pupil coveted was the ability to 
practise it on his own account, and this 
knowledge was, in most instances, satis- 
factorily acquired when he got a theoret- 
ical knowledge of its secret processes. 

The frequent specification of the formen 
in the earliest notices of printing shows 
that the mould, with its accompanying 
matrices, was regarded as the key to the 
knowledge and practice of the art. As the 
moulds were made by master mechanics, 
not bound to secrecy, and as the earlier 
compositors had some knowledge of the 
process of type-casting, it was not difficult 
for a journeyman to become a master 
printer. When he had bought a type- 
mould and matrices, he could go to any 
city and begin to print books. He could 
cast types and mix ink as he needed them ; 
he could buy paper and the constituents of 
type-metal in any large town; properly 
instructed, any joiner could make the 
Many of the early master printers 
practised their trade for a few years in one 
place, and a few years in another, roying 
about from town to town with a seeming 
indifference to change which seems unac- 
countable to the modern printer, who 
knows how expensive it is to move a print- 


She has in her left hand a narrow com- 
posing stick, made to hold but two or three 
lines of small types. The early stick was 
not like the neatly finished iron tool of our 
time, with steel composing rule and an 
adjustable screw and knee adapting it to 
any measure. It was areal stick of wood, 
a home-made strip of deal, with the side 
and end-piece tacked on. For every meas- 
ure, a new stick or a retacking of the 
movable piece was required. The date of 
the introduction of the stick cannot be 
fixed, but it was used, without alteration 
for many years, by the printers of all 
countries, It is possible that some of the 
early printers had no sticks. The peculiar 
workmanship of the unknown printer and 
of Albert Pfister shows that the types were 
taken direct from the case and wedged in 
the mortised blocks of wood which served 
for chases. Blades attributes the uneven 
spacing and irregular endings of lines in 
the early printed books of Caxton and of 
other printers, to their ignorance of the ad- 
vantages of a composing rule, without 
which types could not be readily moved to 
and fro, and adjusted. Bernard says that 
sticks of wood were used by Christopher 
Plantin, “king of printers.’’ It is char- 
acteristic of the taste of his time, that 
Plantin had sticks of wood, although he 
boasted that some of his types were cast in 
{matrices of] silver. 

In the following illustration, the com- 
positor has the copy before her in the shape 
of a book, but Conrad Zeltner, a learned 
author of the seventeenth century, said 
that this was not the early usage; that it 
was customary to employ a reader to read 
aloud to the compositors, who set the types 
from dictation, not seeing the copy. He 
also says that the reader could dictate from 
as many different pages or copies to three 


GEORGE BRUCE’S SON & CO., TypE-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 


149 


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150 


PEARL, No. 20. 


THE TOOLS OF THE EARLY PRINTERS. 


or four compositors working together. Madden, in his first collection of Ledétves 
a@’un bibliographe,— the most curious piece Oh anal vce criticism that has appeared 
in typographical literature—has demonstrated that the method of dictation was 
practised in the office at Weidenbach. In this series of letters he critically examines 
three books, printed at this office with the same types, and at the same time, and 
points out the peculiar errors of three different compositors, who, not seeing the 
copy, were misled by their misapprehension of the dictated words. He claims 
that these books were the practice work of three amateur compositors who were 
then learning the trade. Each compositor had copies of his own workmanship 
printed as evidences of his skill, or as a memento of his errors. Novelas they may 
seem, I am inclined to accept the conclusions of Madden. Many copies of early 
printed books, known to be of the same edition, or done at the same time, show 
variations in the typographical arrangement which cannot be explained by any 
other hypothesis than that of a double composition by compositors working from 
dictation. When the compositors were educated, the method of dictation may 
have been practised with some success; when they were ignorant, it was sure to 
produce many errors. Zeltner said that he preferred the old method, but he 
admits that it had to be abandoned, on account of the increasing ignorance of the 
compositors. P ae 
No feature of early printing is more unworkmanlike than that of composition. 
Imitating the style of the manuscript copy, the compositor huddled together words 
and paragraphs in solid columns of dismal blackness, and sent his forms to press 
without title, running-titles, chapter-heads and paging-figures. The space for the 
ornamental borders and letters of the illuminator seems extravagant when con- 
trasted with the pinched spaces between lines and words, The printer trusted to 
the bright colors of the illuminator to give relief to the blackness of the types, not 
knowing that a purer relief and greater perspicuity would have been secured by 
a wider spacing of the words and lines, The obscurity produced by huddled and 
over-black types was increased by the neglect of simple orthographical rules, 
Proper names were printed with or without capitals, apparently to suit the whim 
of the compositor. The comma, colon and period, the only points of punctuation 
in general use, were employed capriciously and illogically. Crooked and un- 
evenly spaced lines and errors of arrangement or making-up were common. 
Madden has pointed out several gross blunders, caused by the transposition of 
lines and pages and an erroneous calculation of the space that should be occupied 
by print. Words were mangled in division, and in the display of lines in capital 
letters, in a manner that seems inexcusable. But no usage of the early compositor 
is more annoying than his lawless use of abbreviations. Imitating the example of 
Procrustes, he made the words fit, chopping them off on any letter or in any posi- 
tion, indifferent to the wants of the reader or to the proprieties of language. The 
composition of Scheeffer’s edition of 
the Decretais has been injudiciously 
praised by Bernard. In the fac-simile 
shown in the Appendix, it will be no- 
ticed that the page is crooked, and that 
the justification and making-up are very 
faulty, In a copy of Torresani’s edition 
of the Decreta/s, the frequent contrac- 
tions make the work almost unreadable. 
This book has been highly commended 
for its even spacing ; but it isa sufficient 
answer to say that any printer could 
space admirably, even in the narrowest 
measure, if allowed to mangle words to 
suit his convenience, Whatever opinion 


may be entertained concerning the de- 
terioration of printing in other branches, 
it is, beyond all cavil, certain that in the 
art of arranging types so that the mean- 
ing of the author shall be made lucid, 
the modern compositor is much the more 
intelligent mechanic. 

Improvements were made slowly. 
The method of spacing out lines so as 
to produce a regular outline at the right 
side of every page had been practised 
before, but it was not in general use 
even as late as 1478. Arabic figures, in- 
stead of Roman numerals, were first 
used by Ter Hoorne of Cologne, and by 
Helye of Munster in 1470. Signatures 
to guide the binder in putting in order 
the different sheets of a book were first 
used in printed books by Zarot of Milan 
in 1470. As the letters of the signa- 
tures often had to be doubled, and 
sometimes quadrupled in thick books, 
it became necessary to print a full list of 
the signatures at the end of every book 
as an additional guide to the binder. 
This list, regtstrz chartarum, seems 
to haye been first used by Colonna at 
Venice in 1475, The clumsiness of dou- 
bled alphabetical letters should have led 
to the use of Arabic figures for signa- 
tures, and should have suggested pag- 
ing, but these reforms were not adopted 
for many years afterward. The state- 
ment made by Lacroix that one book 
was paged in 1469 does not prove that 
this was the usage. In some books print- 
ed at Venice during the last ten years of 
the fifteenth century, the leaves (not the 


HiLIM 


8 


SaVaT VOId OL 


“dI'TOs 


Two upright beams, or cheeks, su 


SOLID. 


THE TOOLS OF THE EARLY PRINTERS. 


in 1517, neither leaves nor pages are 
numbered. A table of errata, two pages 
folio, was exhibited by Gabriel Peter of 
Venice in 1478. The first full title, if a 
few lines in compact capital letters can 
be so called, was. made by Ratdolt of 
Venice in 1477, but his example was not 
rapidly followed by rival printers. Run- 
ning titles and open chapter headings 
are innovations of the next century. The 
printers of the fifteenth century who 
wished to free themselves from depend- 
ence on the illuminator filled up the 
white spaces about chapter-headings 
with bits of engraving on wood or metal. 

Galleys, or trays of wood to keep in 
place the composed types, were not 
known; the types were placed line after 
line, perhaps letter by letter, in the mor- 
tised block of wood which served for the 
chase. Nice justification was impossible. 
If two pages were put in one mortise, 
one of these pages would often be out of 
square —an irregularity which has led 
some bibliographers to think that each 
page was Separately printed from a sepa- 
rate form. The locking-up or tightening 
of the types, which was roughly done, 
often made the types crooked, springing 
them off their feet and making the 
spaces work up. Some early chases held 
their types not with quoins, but by the 
pressure of screws. A German printer’s 
hand-book, dated Leipsic, 1743, has dia- 
grams of impositions in which the pages 
are fastened by screws perforating the 
chase. Quoins and bevels were not an 
early invention. 

The neglect of the early printers to 
praise their presses is remarkable when 


A LEADS 


‘ 


WITKTS! TOF BIC 


Presswork and Composition as done in 1520. 


(From Blades’ fac-simile of the print of Badius.] 


pporting a thick cross-piece, or cap, made the frame-work, 


pages) are numbered on eyery odd page. 
But this was not the common practice. 
In the Stazizs of Aldus, printed at Ven- 
ice in 1502, and in the Italian translation 
of the Commentaries of Fulius Cesar, 
printed by Bernard Venetus of that city 


The cap held in place the screw and spindle which gave the impression, and t' 

the spindle was steadied by the large square collar, or till, which eS supported eee 
The point of the spindle pressed against the impressing surface, or platen, which was held 
in place by iron rods connecting it with the collar. The bed of the press and the form of 
type, are concealed by the tympan drawer, which, with tympan and frisket, have been 
folded down and run under the platen. (See illustration on page 105, and explanation on 
page 97, for the uses of these parts.) The bed was of stone, but every other large piece was 
of wood. Iron was used only for the spindle, the core of the bar-handle, for nuts and bolts. 
and the minor pieces for which no other material would serve. H ‘ 


a SS ee ee 


contrasted with their frequent praises of 
the marvelous art of type-making. It is 
inferential evidence that the press was 
then regarded as an old contrivance, and 
not worthy of notice, but this conclusion 
cannot be unreservedly accepted. The 
principle of pressure was old, and for 
that reason, was undervalued by print- 
ers, but the mechanism of the press was 
new. That the printing press was an 
invention of merit will be perceived at a 
glance when it is compared with the 
screw press which is supposed to have 
served as the basis of construction, (See 
page 125 for illustration of primitive 
screw press.) That a proper method of 
doing presswork was deyised in the in- 
fancy of the art may be inferred, not only 
from the permanency of the primitive 
form of press, all the important features 
of which are still preserved in the mod- 
ern hand-press, but from the meritori- 
ous presswork of the first books. The 
Bibles of Gutenberg were . certainly 
printed on a press which quickly gave 
and quickly released its pressure, and 
which had the attachments of a movable 
bed, tympan and frisket, and contriv- 
ances for neatly inking the types and for 
keeping the paper in position. 

Jodocus Badius of Paris was the first 
printer who published engravings of the 
printing press. It cannot be asserted 
that they are minutely accurate repre- 
sentations of the press then in use, but 
they will serve to show its general con- 
struction. Two features provoke hostile 
comment. Contrary to modern usage, 
the piles of white paper and printed 
paper are unhandily placed on the off- 
side of the press, and the stalwart press- 
man pulls home the bar with both arms. 
The platen seems altogether too small 
when contrasted with the great screw, 
the heavy frame, and the two-handed 
pull of the pressman. The smallness of 
this platen was not an error of the de- 
signer. Moxon (Mechanick Exercises, 
vol. I, pp. 52, 69), who has minutely de- 
scribed the press of his time, says that 
the platen of an ordinary press should be 
of the size 9 by 14 inches, and that the 
coffin, or trough in which the bed was 
placed, should be 28 inches long and 22 
inches wide. In other words, the plafen 


was purposely made so that it could im- 
press less than half the surface of the 
bed; it could print only one-half of one 
side of the sheet. Small as this platen 
may seem, it was large enough for the 
frame-work of wood. It gave great re- 
sistance under pull, and severely taxed 
the strength of the pressman. <A platen 
of double size would have defied the 
pressman; it would have sprung under 
pressure and have broken the bed of 
stone, 

To the printer who has seen only the 
press in which the platen covers the 
bed this may seem an absurd method, 
but it was a method in general use even 
as late as the beginning of this century. 
Men are yet living who have printed 
books by the method shown in the cut: 
pulling down the bar when one-half 
of the form was under the platen; re- 
leasing the pressure; running the other 
half of the bed under the platen; and 
finishing the presswork of the other half 
of the sheet by a second pull. 

The types were inked by balls, an ap- 
pliance which is not more than fifty years 
out of fashion, These balls were made 
of untanned sheepskin, stuffed hard with 
wool, and mounted with handles. The 
gluey ink was evenly distributed by for- 
cibly rocking their curved surfaces 
against each other. This done, the balls 
were then beaten upon the types in the 
form. 

When we learn that the early presses 
were made almost entirely of wood, and 
put together by ordinary joiners, we may 
infer that many were unscientifically 
built, and shackly. There should have 
been a gradual improvement in the con- 
struction of the press, as there was in the 
making of the types, but there was no de- 
cided change for two centuries, Moxon, 


GEORGE BRUCE’S SON & CO., TyPe-Founpers, No. 13 Cuampers-Street, NEW-YORK. 


Tue Toots oF THE EARLY PRINTERS. 


in 1683, commending the “‘new fashion” presses of Blaew, denounced the “‘old fashion 
presses as make-shift, slovenly contrivances practised in the minority of this art.” Nor 
was Blaew’s press perfect. To insure proper register, Jackson (who undertook, at 
Venice in 1745, to print wood-cuts in colors) was obliged to reconstruct the press of 
Blaew. All the materials for presswork were imperfect. The types, cut to length by a 
saw, were of uneven height; the paper was usually of yery rough surface and of irregu- 
lar thickness; the platen of wood, rarely ever truly flat, must have given unequal press- 
ure at different corners, It was necessary that some substance should be put between 
the platen and the white sheet which would compensate for these irregularities. This 
substance was a woolen blanket, in two or more thicknesses, which spread or diffused 
the impression. The wetting of the paper, which made it soft and pliable, materially 
aided the pressman, but his great reliance seems to have been on strong impression. 
‘All the old cuts of presses represent the pressman tugging at the bar with a force which 
seems out of all proportion to the size of the form. 

The early press was rude, and the method of printing was unscientific, but in many 
offices the pressman was superior to his press and his method. By doing his work slowly 
and carefully he often did it admirably. It was always done slowly, with a waste of time 
which, if allowed in the modern practice of printing, would make books of excessive 
price. Some notion of this waste may be had after an examination of the letters of the 
Psalter of 1457, in which exact work was produced by painting, not by printing proper, 
That the performance of the press even on ordinary black work was slow is indicated 
by the great number of presses used by the early printers, and is proved by the plain 
statement of Philip de Lignamine, who said that the printers of Mentz printed three 
hundred sheets a day. This seems a small performance. 

It must also be remembered that on the early printing press two pressmen were re- 
quired for the work — one to beat or to ink, and one to pull or to print. The ordinary 
task of the hand-pressman of New-York in 1840 was rated at 1500 impressions, but these 
impressions were made by one man (working an inking machine) and one pull on forms 
of large size. Considering the surface printed, the performance of one hand-pressman 
in 1840 was about eight times more than that of one pressman in 1458. 

The accurate register of the first books was produced by placing the white sheet on 
four fixed points which perforated the four corners of the leaf when the first side was 
printed. In printing the back of the page, the half-printed sheet was hung on the same 
points, from the same point-holes, and was impressed in the same position. Blades 
notices the four point-holes in some of Caxton’s books, and it is 
probable that the mysterious pin-holes in other books are the marks 
of points. It was soon discovered that register could be had with two 
points, which were placed in the centre ofthe sheet where the marks 
would be hidden by the binder. 

Words and lines were sometimes printed in red in a text of black, 
with a nicety of register rarely equaled by any printer during the first 
years of this century. The early method of printing red with black 
has been described by Moxon.’ The black form was first printed with 
quadrats in the places that should be occupied by the red words or 
lines. This done, the form remaining on press, the quadrats were taken 
out and the vacant space partially filled with “underlays ” of reglet. 
about one-sixth inch thick. On these underlays the types to be printed 
in red were placed, which adjusting made them about one-sixth of an 
inch higher than the types of the black form. The bearers were 
then raised, the impression was readjusted, a new frisket was put on, 
and the pressman was ready to print red as he printed the black. 
This method of printing red with black, a clumsy method at best, 
which can be practised only on small forms on the hand-press, has 
been out of fashion for many years.—The color work of the early 
printers has been over-praised. Superior, no doubt, to that of printers 


Tur Toots oF THE EARLY PRINTERS. 


of the last century, who tried to do more work in less time, it cannot 
be compared with the color work of our day. The rubricated Book 
of Common Prayer printed by Welch, Bigelow & Co. of Cambridge, 


‘aIT'IOS 


PEARL, No. 21. 


Massachusetts, the Specimen Book of Charles Derriey of Paris, the 
French-English Dictionary of John Bellows of Gloucester, Eng- 
land, may be offered as specimens of modern color presswork 


which show an exactness of register and a purity of color and of 


SOLID. 


Tue Toous or 


of copper-plate effects, to the masculine 
boldness, solidity and readableness of the 
old-style letter of the last century. The 
same ink applied to the small thin Roman 
types of our time, would seem dull and gray. 
The microscopic examination of any early 
ink will show that the black is not fine and 
not thoroughly mixed with proper drying 
oil. But this imperfection is comparatively 
unimportant. It is a graver fault in some 
early inks that they are not firmly fixed to 
the paper. 

Mr. Ticheborne, a recent contributor to 
Chambers’ Journal, says that the older 
printing inks are more easily saponified and 
washed off by alkalies than those of the last 
century. Some of the old inks he found so 
sensitive, that on introducing them to a 
weak solution of ammonia, the printed 
characters instantly floated off the surface 
of the pages. His explanation, that the oil 
had not been properly prepared by boiling, 
and was not changed into an insoluble var- 
nish, and “‘resinfied, ’’ is, no doubt, correct. 
A practical ink-maker, in a series of papers 
to L’imprimerie (vol. 1, p. 129), says that 
in many books of the fifteenth century, the 
adhesion of the color to the paper is very 
weak, and that the ink can be made pale 
or washed off with a moist sponge. 

There is no trustworthy account of the 
invention of printing ink, but the types and 
the inks were undoubtedly invented to- 
gether, One was the proper complement 
of the other. It may be 
supposed that Guten- 
berg acquired the knowl 
edge of the newly found 
properties of boiled lin- 
seed oil from German 
painters. It is certain 
that he used oil as the 
basis of his ink, and that 
it was also used by his 
pupils and successors. 
And it has been in use 
ever since, for there is 
no substitute. Lanzi re- 
fers to an Italian manu- 
script of 1437 in which it 
is asserted that the new 
method of painting in oil, 
as practised by the Ger- 
mans, must begin with 
the process of boiling lin- 


by its fatness hinders the 
Inck from drying, so that 
when the Work comes 
to the Binders, it Sets- 
off; and besides is dull, 
smeary and unpleasant 
to the eye. And the 
Rosin, if too great a 


impression not to be found in any early book. 


The printing ink of the fifteenth century, as we now see it, is 
of unequal merit. In the books of Jenson it appears as an in- 
tense, velvety, glossy black; in the Bibles of Gutenberg it is a 
strong, permanent black without gloss; in the Psalter of 1457 it 
appears in some places as a glossy black, and in others as a faded 
color which had to be retouched with the pen; in the works of the 
unknown printer it is a dingy and smearing black ; in the books of some 
printers it is a paste color which can be rubbed off with a sponge; in nearly all, 
it is uneven, over-black on one page and gray on another. 

This unevenness does not prove the use of two distinct inks, 
it was caused by the negligence of the pressman, who applied an unequal quantity 
of ink upon different pages. In many instances, it was produced by the variable 
qualities or conditions of the paper or vellum. If the paper laid out for one form 
differed from that used for other forms in being too coarse or too dry, or over-wet, 
or if the vellum had been polished too much or too little, or had not been entirely 
freed from lime and grease, it would take up from the types, during each condition, 
a variable quantity of color, and produce prints of a different degree of blackness, 
These variations in color are most noticeable in books of vellum. In a prayer book 
printed by Kerver in 1507, the ink is black wherever the vellum is smooth, and gray 
where it is rough. In another edition of the same book on paper, printed by Kerver 
in 1522, the ink is not so black as it appears on the smooth yellum, but the color 
is more uniform. Equal carefulness seems to have been taken with each book, and 
the ink was, no doubt, substantially the same. Some of the early printers sorted 
their sheets after printing, separating the under-colored from the over-colored and 
binding each together. 

The general impression that early printing ink is blacker and brighter than modern 
ink is not always correct. Early ink seems blacker, because it is shown in greater 
quantity, for the early types were larger, of broader face, without hair lines, and 
could be over-colored without disadvantage. In trying to avoid the gloominess of 
early printing, modern printers have gone too far in the opposite direction, The 
fault of imperfect blackness which is justly censurable in many modern books is 
largely due to what Hansard calls the “yazor-edged”’ hair lines and thin stems of 
modern types which give the printer no opportunity to show black color. Readers 
have been taught to prefer a feminine elegance in types, a weak and useless imitation 


In some instances, 


‘SGVW1I VOId OL 8 HLIM 


Early Inking Balls. 
(From a Playing Card of Sixteenth Century.] 


WITH 8 TO PICA LEADS. 


quantity be put in, and 
the Form be not very 
Lean-Beaten, makes the 
Inck turn yellow: And 
the same does the New 
Linseed-Oyl.— Secondly 
They seldom Boyl or 
Burn it to that consistence the Hollanders 
do, because they not only save labour and 
Fewel, but have a greater weight of Inck 
out of the same quantity of Oyl when less 
Burnt away than when more Burnt away ; 
which want of Burning makes the Inek 
also, though made of good old Linseed-Oyl, 
Fat and Smeary, and hinders its Drying; 
so that when it comes to the Binders it 
also Sets-of.—Thirdly. They do not use 
that way of clearing their Inck the Holland- 
ers do, or indeed any other way than meer 
Burning it, whereby the Jnck remains more 
Oyly and Greasie than if it were well clari- 
fied.— Fourthly. They, to save the Press- 
man the labour of Rubbing the Blacking 
into Varnish on the Inck-Block, Boyl the 
Blacking in the Varnish, or at least put 
the Blacking in whilst the Varnish is yet 
Boyling-hot, which so Burns and Rubijles 
the Blacking, that it loses much of its brisk 
and vivid black complection.— Fifthly. Be- 
cause Blacking is dear, and adds little to 
the weight of the Inck, they stint them- 
selves to a quantity which they exceed not; 
so that sometimes the Jnck proves so un- 
sufferable Pale, that the Press-man is 


Ean EEE SE SEER 


THE EARLY PRINTERS. 


seed oil. History of Painting in Italy. 
Bohn’s edition, 1852, vol. 1, p. 86. 

We have not been told how the ink was 
compounded: Our nearest approach to this 
knowledge is through the Cost Book of the 
Ripoli Press for 1481, which specifies and 
prices the materials. As no mention is 
made of smoke-black, we have to infer that 
pitch was burnt to make this black. Lin- 
seed oil, as the most bulky ingredient, very 
properly occupies the first place. The real 
value of nutgalls and vitriol is not so ap- 
parent: they were important ingredients 
in writing ink, and the Italian printer may 
have thought them indispensable in print- 
ing ink. Shellac and liquid varnish were 
used to give a glossy surface. 


INGREDIENTS OF PRINTING INK USED BY 
THE Ripout PREss. 


Tuscan American 


Ingredients. Currency. Currency. 
Linseed Oil, bbl..lir. 3100 $3 17 
Turpentine, lb... 40 18 
Pitch, Greek ...- 40 18 
Pitch, Black 18 .7% 
Marcassite 30 -13% 
Vermilion . 50 .22% 
Rosin 30 .13% 
Varnish, hard ... 80 36 
Varnish, liquid -.. 120 54 
Nutgalls. 3 40 -18 
Vitriol .. S 40 18 
Shellac. - 30 1334 


Printers soon discovered that printing 
was an art of too many details, and that the 
manufacture of printing ink was its most 
objectionable duty. There was risk of fire 
in the boiling of linseed oil; discomfort and 
dirt were connected with the manipulation 
of the ingredients; and in inexpert hands 
waste and failure were unavoidable conse- 
quences. In alllarge cities, ink-making was 
set apart and practised as a distinct trade. 
As a necessary consequence, the quality 
deteriorated through the competition that 
followed. Moxon’s criticism of ink made 
in England in 1683 could be applied without 
any injustice to much of the ink of the fif- 
teenth century : 

Our Inck-maker's to save charges, mingle 
many times Zyane-Oyl among theirs and a 
great deal of Rosin ; which Trane-Oyl by its 
grossness Furs and Choaks up a Form, and 


THE Toots OF THE EARLY PRINTERS. 


forced to Rub in more Blacking upon the 
Block ; yet this he is often so loth to do, 
that he will rather hazard the Content the 
Colour shall give, than take the pains to 
amend it: satisfying himself that he can lay 
the blame upon the Jnck-maker. Moxon, 
Mechanick Exercises, vol. 11, pp. 76, 77. 

Gutenberg, Scheffer, Zell, Mentel and 
many early printers of France and Italy 
neglected engraying on wood. It may be 
that this neglect originated in the difficulties 
of printing types aad wood-cuts together, 
or in a despisal of the rude productions of 
the block-printers, and in the intention of 
the typographers to make emphatic the 
superiority of their branch. 

No exception need be made for the initial 
letters of the Psalter of 1457. The thin 
curved lines of the ornamental portions of 
these letters could not have been cut on the 
flat boards then used by all engravers on 
wood, The absence of cracks and broken 
lines, after long service, in every print taken 
from these cuts is presumptive evidence 
that they were cut on metal. The orna- 
mentation is unlike that of the professional 
engravers of block-books and at once sug- 
gests the thought that they were cut on 
brass or type-metal by the hand that cut 
the types of the text. 

That the early printers did encounter 
serious difficulties in the use of wood-cuts 
in type-forms is proved by their selection of 
blocks of smaller size. Full-page cuts are 
rare in the books of Koburger, Leeu and 
Veldener. Von Os of Zwoll cut up the 
blocks of the Bible of the Poor. Blades 
says that Colard Mansion printed the types 
and wood-cuts that appeared on the same 
page by two impressions, Sad experience 
in the warping and cracking of blocks of 
wood in forms of types was, no doubt the 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


151 


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PICA, No. 21. 


152 


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SUMLNIYVG ATYUVY CHL AO STOOT, AH], 


TO PICA LEADS. 


5 


WITH 


SOLID. 


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oy} pue doaroyy oyonostg Aq poploar Weed oAey 
0} sutoes AYMoTFIp SIU, “LOqV, BAZXO ST} LOF Wosvot 


‘SUMING ATUVY AHL JO SOOT, FH, 


GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 


1538 


SmatL-PicA, No. 21. 


®B Jour ou wey AA 


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‘988 Itey} 04 uoyaodoad ut oyBrnooe 1B S004 


"S107 901100 pue SLOJLpo ALOU} JO Ssoul 


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aIoM Syood 4euy ‘esq pues zywed/) ‘SULIOK) 0} 10999] 


‘SUELNIUG ATHVY FHL fo STOO], TAL 


WITH 5 TO PICA LEADS. 


SOLID. 


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Surparoooe ‘UTA ‘roded pozIsun yey} PeLesoostp OOS SBM 47 


‘SUMINIUG ATAVGL GHL JO STOOT, FHL 


rs, No. 13 CHAMBERS-STREET, NEW-YORK. 


GEORGE BRUCE’S SON & CO., TyPpE-FOUNDE 


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LonG-Primer, No. 21. 


154 


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-coeddos Fo uoyUoAUL yoojrod oy} Jo oyep youxo oy, “FL oseg 


SNOLLOHYAOO AGNV SHLON TVNOLLIGGV 


WITH 6 TO PICA LEADS. 


SOLID. 


‘spre orydeas oy 
Jo pvoy ory ye ood sqrt sdooy [YS stequeyny Aq pozyueaut poyjout 
ey, “ouy ano Jo uoyusAut aoyjyo Auv Aq zou ‘Kydeasoyoyd 0 
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oy} Yous] ye sojonb pueryoury, oj ‘sodvose sninurey_ Snppy weAe 
JON  ‘“Woqory 0} JoyeoyoR pur sn woaz saoyutid Ayprve ey Jo 


‘SUMENING ATINVY AHL dO S1IOO], AH, 


GEORGE BRUCE’S SON & CO., Typr-FounprErRs, No. 13 CHAMBERS-StTREET, NEW-YORK. 


155 


LonG-primer, No. 21. 


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‘SNOLLOAUAMOD AGNV SHLON TVNOLLIGGY 


WITH 7 TO PICA LEADS 


SOLID. 


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Worf poatozut oq Avut toddoo to ‘ozuoaq ‘ssvaq Jo Sear AURULIOY) JO 


‘SNOILLOGUUMOD GNV SALON TVNOLLIGGY 


rt, NEW-YORK. 


. 
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7 


GEORGE BRUCE’S SON & CO., TyPpE-FOUNDERS, No. 13 CHAMBERS-STRI 


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‘uresotoeds Yo STUITU SNySTIyO 


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ell pousopy YAY oy “WOOLseplig v SV 
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ysnq 8 Sutureyuoo quoureduroo surpuodsesio9 ey} Yyeoucg 


"BTLO.LOD OULYIABLIOVIP snsuods uenbure J, 


‘Gg ‘XIX ‘Sq “dequINye SIT ‘OnS OULLTeYY ep suoped 
JO Jno Woo) woorsepuq ev sve ueag -ord snuttiop snsuods wenburey vwaruyy 


+ poqttosur ‘puey, sty Wott surtpsss0ad ]jotes 8 
st ‘ourRu STU, Aq PePVoOTPUL ST YOry Ar ‘prurdg JO ysnq of fopuy) 


‘SOS JUSOOUUT SUTIAO.LO 
AstyQ query ommd oeyy “UooLooprtq 
ey} 0} Uexivey pue euros Aoyy yey 
‘Toyyetoues Aroao 03 syvods Josuy 
ey, ‘uery oyy JO oft oy} “oplaq ot} 
99Yy} MOYS [IM T pure ‘etu0D ‘UAT, 04 
pres ‘pox jo soreysAur oy} THI, MOS 


“TOJUVUO.I0D SO}WSOOUUL 
SVUITUR UINYSLIYD Woe} WOdOUUT TINUE 
‘Tunsttods UI UNpURyMOSNY pe JURTU 
-0A IN WOUOT}R.L9US WOTLULO pRangmb 
-o[ sunjesuy ‘luse ureroxn ‘uesuods 
Iq Ureptmeyso yo ‘Tua A ‘tUNe pe 4IXIp 


‘SSNOILOHUUOD ANV SHLON TIVNOLIACY 


A LEADS. 


1 


7 AKO, JEMKC 


WITH 


SOLID. 


04 Suri pur Gridg oy} ur svm oy 
TOY ISTOSUBA 94 WTOP YOO} pox 
fo JOSUY oY} FUL, ‘pwet St Ht UOTyeT 


-oA0yy oy Fo toyduyo ys.g-Ay uM OT UT 
sng) sunt pue ‘LOTR PASI JO YOO, 944 Wort Uoxyey 


ToT BURYOIR O.LOPTE4SO IGIS SMOTOA 4O 
nywidg ur yesse TMD TWRISTPSUBATT 
meuuRoyf Jrpucyeadde req snjesue 


ponb ‘eqideo orxx sdAyeoody ut angisery 


Ayyaed st ‘qeresy pur par Jo WYStt oy uo ‘aovssed puooses oy, ,, 


“AV TRILOULUAT FO UALO.LO OY} YL LOT 
SUMOLO PUB “YSOL [VUIE}9 0} JOY Syonp 
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-01 pur ‘opliq oY} Sesserppe wWodLd 
-OPld ol} Vy, ‘pBeL ST 41 WOTLOTOR 


“STJVITTRILOULUAL BUOLOD 
unos yeuotod yo furvUteyee urember 
UL UIBe YLONporyuT yo ‘YRooed sTuUTO 
eynovuL euIs vuITUe 4se enb ‘ures 
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‘TUOA “BOUL BOTUIV ‘TUBA 9} UT a48e 
TOU YPNOVUL Ja “Rat ROTUTR ‘se waqornd 
BOT, :4IXIp Opueums uve yo wes 
-uods angmborye snstods ponb ‘ez1deo 


jo suog oy} jo azojdeyo qymoz oy} up openh ‘mMaocoyuRD ooyuUR) Ul mytsery 


1 ‘AI doydeyy ‘uoutopog Fo 
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‘ogy, d ‘aydnsbodhy ») «ns wssy Opt 
‘SoINYORINUVUL JSOUL WO POTAST o19M Soxvz oAtssecddo usyM WoAe 
jou ‘eouRty UL SoyNp 4o soxey 07 peyoofqns you sem yy ‘soded 
JO o[Vs oa OY} 0} UOYTSoddo ou epvur stavg Jo ApISTOALUL]) OY, 
‘sab y ayppryy “vary 
ey, ‘wopsqeg Jo summa oY} IOAO SOARM 4RY} SSB OT} SV Aj qtoxof 


“SNOLLOHYUOD) AGNV SULON TIVNOLLIGGY 


GEORGE BRUCE’S SON & CO., TypE-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 


157 


Bourceors, No. 21. 


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sem ‘Baroqueyny UYOr Fo JoypOIq Lop[o oy} ‘qostepsuey OPEL FEU} soaoad 
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pue ‘syooq jo woronpord oy} UL pe}sotoqzur TONUT o.10.M Aqratoeyerz STUY YEU} 
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‘SNOLLOGTUUMOD AGNV SALON TVNOLLIGGY 


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SULON TVNOLMIaay 


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WITH 7 TO PICA LEADS. 


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yey} yqnop ou eq ues osoyy,, shes “(Tp d ‘wouuaaut Gurutaouoo haumbuyz ) 
Suyuad Jo yey} you svM Jores SSroquoyny yey} sxuTyy oy ‘A9T390 


“SNOILOGUNOD AGNV SALON TVNOILLIGGY 


GEORGE BRUCE’S SON & CO., TYPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


159 


Bourceors, No. 21. 


“SyOod oTqepra 
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“IOYSTULUL JURYSO}JOI wv ynq ‘xoqzuLtd 


‘SNOLLOWUUOD GNV SHLON TIVNOILLIGGy 


SOLID. 


WITH 6 TO PICA LEADS. 


B Jou SBM JOUZEZ yey} Uoppryy “Aq Aq postape wooq oaey [ “GFT 
‘e[doed Sunyeeds-ysysuq Suowe wey} ‘pozsod 
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Aqneyz oy} WO poseq 9q 0} SULSES 4YqnOp STF, ~ApISAOATUG OY} Fo yUOpNys 


‘SNOLLOWNHOT) UNV SALON TIVNOILIGCY 


GEORGE BRUCE’S SON & CO., Typx-Founpers, No. 13 CHamBrrs-StreET, NEW-YORK. 


7 


it ay dash tase' 3 Re, 44( dae he he harys ; . 
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— 
i. 


160 . APPENDIX. 


an aaa bees arene 
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1 sonar AR ND ' 


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AUTUUNTEN TAR OREY, 


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Fac-simile of the Last Page of the Bible of the Poor, see Pages 72 and 155. 
[From Hansard.] 


APPENDIX. 161 


Ader? Dim gui eit nos,B" wnite ali Specutte 
Sea : : cS 
\ PA SLE Y 3 <— NS Sei 
in ONO) a3! CA Moy — Ne 
h LOGY SAO cats wir qu ——— 
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by ‘ “gO a Kr WAS é sOXp\\ | nv} \ 
s. oO a ~ 
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CA ee SN non aby jt in Fuovae 0 
zstit\ Wee asehneeces), vowar- 
} AN S 4 f vee 
KA? : y OR: D> ye Weer Shee 
SON, 772s, II AO fey) = J, 
sial 1 “| Gaaes- tuo J UNpiozit et in 
eS } WY a > a aS SE ks 4 
AI RGN GSGONG | 
+— 4; . Si 
Od) “ % eu i 


pipe ee Dit TOmilgestiye 
i. ‘tiiae ay retin eye 2 CUS MDItabif Die ar 


node, et eit tanip. ligniti qi platati ifr 


Fac-simile of Part of the First Page of the Psalter of 1457. See pages 133, 136 and 159. 
(From Humphreys.] 


ite fraltnon-rotve-eernftate rapitalini ieont? 
P fcatontut shiney a 8 
"I abigs ralamiollaceat aera, Stance 
i biam el intuthieet> ofjemfult 
) Cue magiint-Crpetix mrBeratsivin, 
S umn at OS Mi OAMlcho erly -Jnvigta Aliprais, 


Fac-simile, slightly reduced, of the Colophon of the Psalter of 1457. See pages 135, 136 and 159. 
{From Falkenstein.] 


i ay yt rie if Ya | aie a) vy Ait 

OR RGR ene BB ira) 

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af ies is oe 


ainib 4 ein , rr wer ’ a oi yh. apie tiny ey 1 
Py ee ee me 
» se 7 oe ' i ~*~ 


162 


occasion was marked by the solemnity of hig 
parts of Kurope. 
one 
a boy is pulling around the screw of a very clumsy press. T 
pedestal is this inscription, “In the year 1837 the 
contributions received from every part of Europe.” 
Romans, was discovered through the inyentive 
heritage of the world.” 


sheet, “And there was light” (Gen. i, 
more pointedly in the bas-relief on the 


hope hand-press. 


Scheeffer. 


APPENDIX. 


Im 


TT 


TT 


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au 
fe a. Z i) 


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i 


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S IN See 
R SS 
SS \ S 
IN SS 
R N SN 
= N S 
SS NS SS 
NSS 
VN 


YY 


Ti ooo TTT 


MOTT-NY 


re 


Thorwaldsen’s Statue of John Gutenberg. Statue of Gutenberg at Strasburg. 
[From St. Nicholas Magazine.] 


[From Timperley.] 


Thorwaldsen’s Statue, designed at Rome in 1835, and cast in bronze by Srozatier, of Paris, was unveiled at Mentz, August 14, 1837. The 
h mass, the bishop officiating ; also by a festival of three days, attended by many visitors from all 
present Gutenberg before his working table and desk, showing a matrix to Schoeffer who holds in 
Another bas-relief represents Gutenberg leaning against the tail of a press, examining a printed sheet while 
hese designs are in every feature, inferior to that of the statue. On one side of the 
people of Mentz erected this monument to their fellow citizen, J. G. Gutenberg, through 
Another side of the pedestal contains this legend, “This art, unknown to the Greeks and 


skill of a German, who has thereby made all works of genius, both ancient and modern, the 


One of the bas-reliefs re 
hand a half engraved block. 


The Gutenberg Statue in the market place of Strasburg is the work of David d’ Anger, 


3,) is well chosen. This idea, the diffusion of the 
pedestal which represents all great modern 


a sculptor of France. The motto on the proof- 


light of knowledge through printing, is developed 
authors from Shakspeare to Goethe, grouped around a Stan- 


At Frankfort is a Memorial to the Invention of Printing which upholds on one pedestal the separate statues of Gutenberg, Fust and 
all, for the pedestal is lofty, surrounded by emblematic 


TWsa 8 a “ . 5 - 
his is most imposing of * figures, and the statues are of heroic size. 


Jonas qhine vt aalulith we yi mode 


APPENDIX. 163 


MrnAchH Deg (nehgts tre midirenaches —TEl 2 


die tlle mebroké Ofte verdorné ig hf tod fi 
NE Helwemt ghegaé Cruidus keke fin vervile 
tis be tones getefigiterrt DIZ ty Dele tage 
ightle inte bane dey malaitehs Jonag was 
nite Teepe Dad ate de Mort ware g 
We Dood dicichie alle w gené dic Mier’ iu ware 
Boe pie ten Caper acute hem Mader 4 


=f 


= a ® 
Ya FF 18 a 


bacodnordenkmsen-dvuortlaken-vute bande hrasen, 


ort ta 


Type I. Fac-simile of the Small Types in the Third Edition of the Reduced Fac-simile of a large Wood-cut said to be of the Fifteenth 


Speculum. See page 98. 


[From Holtrop. | 


NOTE ON THE INDULGENCE. 

The fac-simile appended of the Letter of 
Indulgence of 1454 was taken by De la Borde 
from the original in the National Library at 
Paris. Sotheby says, in his Appendix, that 
it contains on the margin a half-obliterated 
inscription that it was sold for three florins. 
These letters of indulgence have been the 
occasion of many disputes among bibliogra- 
phers, many of whom, (Wetter and Sotzmann 
among the number) maintain that they were 
engraved on wood, but Bernard, Didot, and 
other authors of authority, are emphatic in 
their statements that they were printed from 
movable types. Didot (Hssai sur la typogra- 
phie, p. 604) says that the large letters of the 
displayed lines are the letters of the text of 
the Bible of 36 lines. The establishment of 
this indentity is of importance, for it proves 
that these types were in use in 1454, and fairly 
warrants the inference that this Bible could 
have been printed before 1454, 


N 
WS 


ANZ 


OR pore 


] Toe y ( 


Century. See page 151. 


[From Jackson. | 


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obfematia. pnia initictaWoto yel alias non obftai.Gt ips impeditis 1 dicto Gro wel aug parte Anno fequenti uel alias quam = 
primi poternt itumabunt.6th t aliquo Inox vel con parte dictiZ iciunit cOmode adimplere nequineint Confefforad id clectus 
in alia rmutare poterit caritatis ope2a queapt facerc etia teneat Oumedo tH ex aidentia reiowis hor quod abhit peccare non 
prefiemant Aliogui dicta conceffio quo ad plenarid remiflion in mortis azticulo et remiffio quo ad peEa ex 2fidentiart pmittit™ 
amifia nulh? fine robosis wel mometi Gt quia deuotiwh frdouse ott wow aplpac Faia 
Juxta dictit induleum de facultatibus firis pie crogauric-  ~merito hunumodr moulgentiis qauderze debet Jrventatis teltinto = 
nium Sigillum ad hoc odinatum prefentibs litteris teftimonialiby eft aypenfium Oatum wia Quntice fub Ano Mt Occcchan, 
die U0 VIN Denfis:Qecomébn’ TE =t—— 


Soma pleniflime abloturionis x remiflignis in vita 
Wereatur TULL ofsné ibefus xps p fa fiflima et piifhma mia; te abfoluat 6t aiicte ip? Deatorgs peti et pauti 


Aptor a7 ac Aiicte Aplica micht amilfa e€ ibi cefla Ego te abfoluo ab omib; pefis tuis 2eritts alellis 4 oblins Gada ab omnibs cali 
b? exceffibs crimibs atgp delictis quamerigs grauibs Sed: Aptice referuatis flection a quibulaig3 excdicationni Mufpenfion et interdieti 
Alig Intis &furis a pemsecctrafincis a Jure~vel ab hoie pmulgatis fquasincuzrifti dando abr plefhima oim pefox furor ndul = 
gentid 4 remiffione Inquati claues fancte marasecctie in bac pte fe exeendiit. Jn nomine patris 2 filn ct fpiritus fancti Amen . 


Fomma plenare renufliants m moots araculs 


S Ke. ifereatur TUT AL diis nofter ut hupra Ggo te abfoluo ab omiby pefis rns rtritis 2felhis a oblitis reftituendo te Wmita - 
ti fidelia 9 facramenns ecctie Remittendo tibi penas purgatorit quas propter culpas et of fenfas mcuzrifti dande tibi plenariam. 
oim pefori tuort remiffions. Inquaii claucs (te m2iseechie in hac parte fe extend&t - Jn mote ptis et Fil et (pis fanct: Amen . 

{o ~abe mona Kerry [or ducckue't 
ad prowmafa Sepusws— 


Reduced Fac-simile of a Letter of Indulgence, dated 1454. See pages 127 and 158. 
{From De la Borde. ]} 


Epitaphid publs yirgile maronis. 
Patltor avator equed.pant alui fuperaut 
Copras wis holes. front ligane manu 
Ce mpris pakis-riser Cato.on holte lubago 
grec lac nec fegetre-patmag nulla tuli 

Cpiaphium Mara milly cerronts. 
Vargus et ceuntane Jetordin ingen fans 
‘*Angenia magn? eft.rmige ofa.nee wngque 
Sanguine qullaid maduerdke rottra pull 


A Print of 1475, probably the work of an Amateur Engraver. Type V. Fac-similes of the Types of the Epitaphs of Pope Pius I. See page 99. 


{From Heineken. ] 


[From Koning.] 


| Seeiep aaa rote’ 
Ua AN bet i et Finegatt S00 3 
Fi \ 6 UV Ea | Se nea i ccoanes ce iy 
W pv TY | ay ; 
FEN ? c | “ Z ‘ | * ie oe 
te =< ee . 4 ee eek 
Bia ee 
rant hy ut sine Cosh ta 
2 hd " fil ; Dinara 4h ek 
24 ‘ ry Sah pea 
Lauper? 
“eto. ~ 
; ap yet 
& is : 
a ioe, 
eri ) i aka ene ta2,, Wik = 
tna hear nal Mab cpbics ot ‘i os 
x Swell 0 eae y ad 
AMI) fides roth al we oh 
a ay Rarer pasate tty 
7 Lhe Sa acl ehk hele caaee fea 
ean ’ me ah > 2) jee 
! Path ch Wor a. bt i" ; ac es hae, 
> ‘ 1" F | ' sae reat rts i) 
’ she) ne \ ae = 


wind ats ay ail yet 
_ mayen mis 
Ceenn 


pinotan et bilronite HH bidguige 
intone: besten Sa a ag ay 
guests -S9Rod euaearge 

- te a 4 Re opetabes at [ss 
Bat ollie 3 | oe pa 


' BRIER 4 


aH praif 


Ae duegre neRanite ta tide 


a a Soy ity A 4 
rade ee Dh ay” »,S Ds a 


a Te eee ee 


Go vole 


- a mite a7 1. Fil 
“Sibue tee Bit VbEbp bot » £9 pace site ae: b>3 ‘ , ~ 2 


of} or 
E at Povey War, avo es ios ry. om fee eal Dl bt ' 
e fa Webi & hon atine aio? oi! ‘Hp n+ G-E4-oobo st OR “Lise ew 


hele Bi (fehner Sah at seer i, Hale trav at wn nritini ad mf Gere os} 


of 
* «tt 
2.5 


lite? . ; ~ ‘ naw ewes Ot ~ Pry . 4 ‘ 
® Gale’ rom i ‘pri DAO Oth Shid! af [ eqn 2 fhe ; re i | ' 

DB cicaeteed dou A Hv ; in ie a4 5° , syns er _ iiteh} ged 4 : 
Bh dad ttn) wot ' bry q wom rree Rte. ah Fee bi ti 


yf ie a Pet dt a San mites x . rte : ‘. ‘ ; iO Us 


deruitnn Avner 4 ry j " * ; in o> nV t ? 3.400R rnc 
aal'\ iu ~0 wid? j - 
agente, me f 


pa eet apt 


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pwede ed uA : 
pei 7 . ; i he 
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7 ’ 4 ol -~ % 
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jeg 7199 Sp KOE at Stuart acrary Nghe OC OATS AR 
i eee aba head 89 at-orpory oupas-alehwieop mas } 
eu en 6dr bulls ad ot y cs | os A ps bieucdp vGiey tala O1 


ie . an | 3) , ny re) 7 3G clysyeif phy gu sui ch dos Nd c(t. 43/ Oth Its 
yah aes | heed 4n Aiba evrarnthsy oat. ya 


. page? ns a elas y TE FIST naa eo Behe ger ah y otter ati eth 
F en » Jud ni Lik ’ a { + 4 Sie led snobe w 4D rT De pom ag Te: 5) rua) 
th vere melsi tee ra asi need eg Reine g ‘adbal bape pans + te 


sic} ‘ 


vpii iinet - te a 
et ss 


i 


ANSWRME, 


XK. Wy 


164 APPENDIX. 


QA didns fuffict ¢ citarimihexpmatid qdad fniam audios 
bam. fF. fen: fine ap-refein-lig 10¢ ett ex edco-fa-8 telticil off. 
in fide vw. et Otu- cil qui-fi-vina fi § in fiimariis foetiusm alijs 
uelcpms Dix. car-q malys cauh in qbo puat indicior igus 
Oo peptone’ ra hit nece peptomi expmmi-nbi no it’ trina ata 
cio. ad Ima3 audiéda-qd vide tenere Jo-xxitiq.tin-te ilicita. s. 
ve oF ‘cel 9 fuluit. Inno.8 aceu-ad pencds.guil.m Ipe.te cita- Ry 
vilomtpe-v.als ait. 
etm. v.quad filata. 
Inicpfis- pferat qd 
Jebus o¢raring 
tenebat egi- mite noz 
mt: ena folu ex viallinf 
bite plano-erp boc 
no.ou0 m quibs suem: 
untifte ccahecaule-f. 
gq mbns nece fit off 
wmitiam m fepto pferri. 
Jee p tudex ficm als 
itambys byillam ple: 
ipfip Ferre-et teutro: 
gp fatis no.te fer et re 
mdteh-h.viubivides 
asmolut ¢ feripturas 
q invfenrettis regritur 
prance indias m_ 
Ns caub ptermittine 
pidotingét occultari 
veritate spalata.er in | 
indtcio oitfimita. et p ons victor? ridiculoferfruftra in tal p- 
cdlus indiciolaboralle- seltins in brjs cauf ad alias quereq 
tans.m boc dinerli’ runt figura mdicioy que Ferruteba 
aindicefedente-te gito vine no.m ps. we-f-te re indi-li-wrin 
slo-penl-Etyid: Qbulda boemdua eid p folum illud dbit de 
plano ut dict m ph-buus ptis- et Beenebat eai-im tec.nounit- 
ocluhonedta lravidevelle g malys caulis requirentibs 
figura udicior neceffarta fit ocuho - Ct te ocfone babetur.s- 
we pavaudias tw caulap of paftozalts.ctm cofiautionecle- 


di Senteiam wro biffiniz 
fuactatis ad idticernon 
pemptosie ptibo inferipal 
et putmagis hbi placue 
rit.ct kas uel fedés pferat 
enam h ei videbsturscluhz 
one no fea pp ut ex peticoe 
et pbaus-cr alias achtaaf 
im _caula fuertt faciendum. 
Que ofa enaminillis 
calib> m quibs p alia oftes 


Fac-simile of Part of a Page of the Constitutions of Pope Clement v. See page 137. 
The paragraph marks were written in red ink. 


[From Humphreys. ] 


) 


aS 


NOTE ON THE CONSTITUTIONS. 

The fac-simile of the Constitutions present me- 
chanical features of interest which, carefully 
examined, should lead to the conclusion that the 
types of this book, and indeed of all early type 
books, were not cut but founded. It is true, that 
this edition of the book has never been claimed 
. as xylographic work, nor has it to my knowledge 
ever been offered as a piece of printing by cut 
types—probably for the-reason that it was print- 
ed by the man who has received unmerited honor 
as the inventor of type-founding—but it was 
produced from types made very soon after the 
publication of the two great Bibles, during the 
period when cut types were supposed to be in use, 
and it shows all the features which have been 
claimed as the peculiarities of cut types. The 
curving in or bending of the line at the top of 


f 


the page was not produced by irregularity in the 
bodies of one or more types, for the curving is at 
the top only, and is regular in its curvature. The 
lining in the middle and at the foot of the page 
is good, notwithstanding some irregularity in the 
fitting of letters—much better than could have 
been produced if the bodies had been cut or saw- 
ed apart. The curving seems to have been caused 
by the shrinking of the wood furniture between 
the text and the notes, or in the wooden chase, 
and by the driving in of plugs or little wedges at 
the top to keep the types secure. If these types 
had been cut apart by saw, some one or more 
would have been larger than the others, and this 
largeness would have produced a general crook- 
edness of line (see page 26) which could have 
been remedied but imperfectly by leading (see 
page 101). But the types of this Constitution are 
not leaded. On the contrary, they have been 
fitted-up with unusual closeness. Types often 
touch each other on all sides. The general uni- 
formity of body is that of cast-types, but the 
variations of form in different types of the same 
letter seem to be those of hand-cut faces. There 
is a similarity in general appearance, but it is 
difficult to find two letters exactly alike. The 
unvarying precision of modern type is wanting. 
The variations in face, so far from showing that 
the letters were cut, really prove that they were 
cast, but by an imperfect method—probably by 
the method described by Didot (page 103 and 104). 
As the letters of the Constitutions show the varia- 
tions that have been noticed in the Speculum, and 
in other works of the unknown printer of the 
Netherlands, it is probable that they were made 
by the same or by a similar process. That Schcef- 
fer did use matrices of lead is distinctly asserted 
by the eminent type-founder Enschedé, who 
claimed to have some of them in his possesion. A 
careful comparison of the types of Scheffer with 
those of Gutenberg should lead any unprejudiced 
examiner to admit the truth of the statement of 
Wittig that it was Gutenberg, and not Schoeffer, 
who first of all invented types in brass matrices. 
It should, however, be stated that the types of 
this fac-simile are either thick and worn, or over- 
colored with ink. In other books and pages of 
Schoeffer, these types have a lighter appearance. 


/ 


Es 
KJ 
S 
S 
S 
= 
Ss 
Ss 
= 


G 


CU 


The Fall of Lucifer, as shown in Zanier’s Edition of the Speculam Salutis. 
An Illustration of the Degradation of Engraving on Wood. 
[From Heineken. ] 


+S 


DIAMON 


ENO} LG: 


AUTHORITIES CONSULTED. 


BrokmAnn Joux. A History of Inventions, Discoveries and Origins. Translated by 
William Johnston. 12mo. 2 vols. London, 1846. 

Brrseau J. Px. Biblia Pauperum. Reproduced in Fac-simile..... with an Historical 
and Bibliographical Introduction, Folio. London, 1859. 

Le Bibliophile Mlustré for 1861. Imperial 8yo. London, 1862. 

Book-worm for 1866. Imperial 8vo. London, 1866. 

Bernarp Ave. De Yorigine et des débuts de Vimprimerie en Europe. 8yo. 2 vols. 
Paris, 1853. “ 

BrwnioPHine BenGE BULLETIN pu. 8yvo. Vols. rtorx. Brussels, 1845—1862. 

Braves Wiru1AM. The Life and Typography of William Caxton, England’s First Printer, 

* ete. Royaldto. 2yols. London, 1861—1863. 

Brerrxorr Jon. Gorrn. Innran. Versuch den Ursprung der Spielkarten, die Einfiihrung 
des Lienenpapieres, und den Anfang der Holzschneidekunst in Europa. dto. 2 vols. 
inone. Leipsic, 1784. 

Campsenn M.-F,-A.-G. Annales de la typographie Néerlandaise au xve siécle. 8yo. La 
Haye, 1874. 

Camus. Notice d'un livre imprimé & Bamberg en 1462. 4to. Paris, an VIL 

Crareer, G.-A. Etudes pratiques et littéraires sur la typographie, 8vo. Paris, 1837. 

Davxyou Analyse des opinions diverses sur l’origine de l’imprimerie. 8yo. 
Paris, an xt. 

Dr LA BorpE Leon. Débuts de l’imprimerie 4 Strasbourg, ou recherches sur les travaux 
mystérieux de Gutenberg dans cette ville, et sur le procés qui lui fut intenté en 1439 
a cette occasion. 8vo. Paris, 1840. 

Débuts de limprimerie 4 Mayence et A Bamberg, ou description des lettres 
@indulgence du pape Nicholas v pro regno Cypri, imprimées en 1454. Royal 4to. 
Paris, 1840. 

Dz pees A. Eclaircissemens sur l’histoire de Vinyention de imprimerie. 8vo. La 

aye, 1843. 

Dipor AmBRotsE Frey. Essai sur la typographie. 8vo, Paris, 1851. 

Douce Francis. Holbein’s Dance of Death....with a Dissertation, etc. 12mo. Lon- 
don, 1872. 

FPanxensters Kary. Geschichte der Buchdruckerkunst in ihrer Entstehung und Aus- 
bildung. 4to. Leipsic, 1840. 

Fiscuer GorrTHELr. Essai sur les monuments typogvaphiques de Jean Gutenberg, may- 
engais, inventeur de 'imprimerie, 4to. Mayence, an Xx. 

Fournter le jeune P. S. Manuel typographique. 16mo. 2 vols. Paris, 1764—1766. 

GRESWELL WitLIAM PARR. Annals of Parisian Typography, etc. 8vo. London, 1818. 

Haw L. Repertorium Bibliographicum, in quo Libri Omnes ab Arte Typographica In- 
venta usque ad Annum MD. typis expressi, etc. 8vo. 2 vols. Stuttgardt, 1826— 
1838. 

Hana Henry. Introduction to the Literature of Europe in the Fifteenth, Sixteenth 
and Seventeenth Centuries. 8vo. 2 vols. New-York, 1841. 

View of the State of Europe during the Middle Ages. 8yo. 3 vols. 
Boston, 1853. 

Hansarp T. ©. Typographia: an Historical Sketch of the Origin and Progress of the 
Art of Printing, etc. 8vo. London, 1825. 

Hemeren C. H. Idee générale d’une collection complette d’estampes, avec une disserta- 
tion sur V’origine de la grayure et sur les premiers livres d'images. 8yo. Leipsic 
and Vienna, 1771, 

Henere HENRI. Une Découverte pour V’histoire de l’imprimerie, Pamphlet, 8vo. Brus- 
sels, 1855. 


Notes et dissertations relatives & histoire de Vimprimevie. Pamphlet 
8vo. Brussels, without date. (From Vol. xvrm of the Bibliophile Belge.) 

Horror Jon. Gur. Catalogus Librorum Szeculo xv° Impressorum, quotquot in Biblio- 
theca Regia Hagana asservantur, Syvo, Hagae-Comitum, 1856. 

Monuments typographiques des Pays-Bas au quinziéme sitcle. Folio. 
La Haye, 1868. 

Humeureys H. Norn. A History of the Art of Printing from its Invention, etc. Folio, 
Second Issue. London, 1868. 

TAoKson JouN and Cuarro W. A. A Treatise on Wood Engraving, ete. Second Edition. 
8yo. London, 1861. 

Tacos P. L, (Lacroix.) Curiosités de l'histoire des arts, 16mo. Paris, 1858. 


“aTTOS 


SOLID. 


Jonxson J. Typographia, or the Printers’ Instructor, including an Account of the Origin 
of Printing. 24mo. 2 vols. London, 1824. 
Koxrxe Jacques. Dissertations sur l’origine, l’invention, et le perfectionnement de l’im- 


primerie. 8vo, Amsterdam, 1819. 


Lacrorx Paut (Bibliophile Jacob), E. Fournier et F. SERE. 
et des arts et professions, etc. Imperial 8yo. Paris, 1852. 


Histoire de l’imprimerie 


La Carne JEAN Du, Histoire de l’imprimerie et de la librarie ot l'on yoit son origine 
et son progrés jusqu’en 1689, 4to, Paris, 1689. 
Lamarer P. Recherches historiques, littéraires et critiques sur l’origine de Vimprimerie. 


8vo. Brussels, an VIL. 


Layzi Abate Luter. The History of Painting in Italy, etc. Translated by Thomas Ros- 


coe. 12mo. 3 vols. London, 1852. 


Manpen, J.-P.-A. Lettres d’un bibliographe. Series 1 tory. Royal 8vo. Versailles and 


Paris, 1868—1875, 


Marrrarre M. Annales Typographici ab Artis Inyente Origine ad annum MDCLXTy. 
4to, 5 vols. Hagae-Comitum, 1719—1741. 
MARCHAND ProsPeR. Histoire de l’origine et des prémiers progrés de l’imprimerie, 4to. 


La Haye, 1740. 


MerERMAN G. Origines Typographice. to. 


Meruin R. Origine des cartes a jouer, etc. 


2 vols. Hagae-Comitum, 1765. 
4to. Paris, without date. 


Moxon Josern. Mechanick Exercises: or the Doctrine of Handy-Works. Applied to 
the Art of Printing. Small 4to. London, 1683. 
Munsett Jorn. A Chronology of Paper and Paper Making. 8vo. Albany, 1870. 


NicHOLs 


The Origin of Printing, ete. 8vo. London, 1774. 


Orrney Winu1AM Youne. An Inquiry into the Origin and Early History of Engraving 


upon Copper and on Wood. 2 vols. 


4to. London, 1816. 
An Inquiry concerning the Invention of Printing, etc., with an Introduction 


by J. Ph. Berjeau. 4to. London, 1863. 
Passavant J. D. Le Peintre-Graveur. 8yo. 6 vols. Leipsic, 1860. 
Rixcwaur J. LurHer, American Encyclopedia of Printing. Imperial 8vo, Phila- 


delphia, 1871. 


SANTANDER SERNA DE LA. Dictionnaire bibliographique choisi du quinzitme sitcle. 8yo. 


3 vols. Brussels, 1805—1807, 


SavAcEe WinntAm. Practical Hints on Decorative Printing. 4to. London, 1822. 
ScHorrrnrm Jo. DANtEL. Vindiciw Typographicw. 4to. Strasburg, 1760. 

Sez J.C. Annus Tertius Secularis Invente Artis Typographice, 8vo. Haarlem, 1743. 
Sismonp1 J, C. L. SmvoNDE DE. Historical View of the Literature of the South of Europe, 


12mo. 2 vols. New-York, 1860, 


Sorneny S. Lean. The Typography of the Fifteenth Century, etc., exemplified in a 


collection of Fa 


etc. Folio. 3 vols. London, 1858. 


Sxeen Wiw11AM. Early Typography. 8vo. 


imiles. Folio. London, 1845. 
Principia Typographica. The Block-Books, or Xylographic Delineations, 


Colombo, Ceylon, 1872. 


Tuomas Isatan. History of Printing in America, ete. ... with a concise view of the dis- 
covery of the art. 8vo. 2 vols. Worcester, 1810. 

TrwrerLey C, H. A Dictionary of Printers and Printing, etc, Royal 8yo. London, 1839- 

Tyams W. R. and Wyart, M.D. The Art of Illumination as Practised in Europe from 


tion, etc. S8yo. London, 1871. 


t Times. Royal 8vo. London, without date. 
The Haarlem Legend of the Invention of Printing by Lourens Janszoon 
cally Examined. From the Dutch by J. A. Hessel 


with an Introduc- 


Vay DER Merrson P. C. Recherches sur la vie et les travaux des imprimeurs Belges et 
Néerlandais, etc, Royal 8vo. Gand et Paris, 1856. 
Wricen T. 0. and ZEsTERMAN. Die Anfdnge der Druckerkunst in Bild und Schrift, 


etc. Imperial 4to. 2 vols. Le 
Werter J. Kritische Geschichte der 
Gutenberg zu Mainz. 8vo. 1836. 


, 1866. 
rfindung der Buchdruckerkunst durch Johann 


Wotutmann ALFRED. Holbein and His Time. Translated by F. E, Bunnett. 8vo. 


London, 1872. 


Wour Jo. Ciristran. Monumenta Typographica, qve Artis hujus prestantissime 
Originem, Laudem et Abusum posteris produnt, etc, 16mo. 2 vols, Hamburg, 1740. 


LIST OF ILLUSTRATIONS. 


Surface Exposed to Impression by Cop- Fac-simile of part of a Chinese Book.... 51 
per-plate method. -- goccrttce 11 Chinese Types made in London... ---.- 51 
Surface Inked and Exposed to Impression Mark of Jacobus Arnojdus, 1345...... 53 
by Typographic method. ---..-.--- 11 Mark of Johannes Meynersen, 1435... 53 
Surface Exposed to Impression by Litho- Mark of Adam de Walsokne, 1349.... 53 
graphic method. ....-----..---.--- 11 Mark of Edmund Pepyr, 1483. 53 
Face of a large Type, showing how the Mark of an unknown person . . - -. 53 
Letter is placed on the body. 12 Japanese Method of Making Paper... .- 56 
Side view of Canon body 13° Paper-Mill of the sixteenth century.... 58 


Small-Pica, Agate and Diamond body... 13 Scriptorium of the middle ages. . - 
View of body inclined to show the face. - 13° Penmanship of the ninth century. 


Stamped Brick from Babylon. - --- 15 Manuscript of the fifteenth century. 62 
Fac-simile of Impression on bri . 16 Medieval Bookbinding. ---..- 62 
Egyptian Stamp for impressing bricks... 16 Sumptuously Bound Book... sees 
Assyrian Cylinder. .....--.----------- 17. Medieval Book with covers of oak... ..- 63 
Old Roman Stamps. ......--.--------- 19 Book Cover in Ivory, Byzantine style.. 63 
Roman Scrinium and rolls of papyrus.. 22 Seal of the University of Paris... .. 64 
Types of Irregular Body. . . 26 Medieval Illuminator. . .-.---- 65 
Punch . 27 English Horn-Book. . 68 
Matrix 27 English Clog -- 68 
Illustrations of Type-bodies. . 28 Holhein’s Dance of Death........--- - 69 
Type-Mould, without matrix. - 28 Dance of Death, as shown in the Nurem- 

One-half of the Mould. ...-... - 28 berg Chronicle. ........---------- 70 
The other half of the Mould..-.-- 2g First page of the Bible of the Poor, as 

Type-casting as practised in 1683. 29 made by Walther and Hurning.. - 74 
Type-casting as practised in 1564 30 First page of the Apocalypse - 76 
Print of St. Christopher. . - First page of the Canticles. 77 


Story of the Blessed Virgin. na 78 
Exercise on the Lord’s Prayer. 
Illustration from the Book of Kings.... 79 
Letter K of Grotesque Alphabet....... 79 


34 

Print of the Annunciation. 35 
35 

36 
ACMLL 

_ 38 Page from the Apostles’ Creed. .. 

42 

43 

43 

45 

46 


Print of St. Bridget. --- 
Flemish Indulgence Print. 
Brussels Print. - 
Berlin Print... - 


Playing Card of the fifteenth century. . - Page from the Fight Rogueries. - . . 80 
Print Colorer. ..........-.---+-2++++- Page from the Antichrist 81 
Engraver on Wood. Page from the Ars Memorandi. . 82 
Chinese Playing Cards. - : Page from the Ars Moriendi = 8s 
Early French Playing Cards. .--....-- Chiromancy of Doctor Hartlieb. . . & 
French and German Playing Cards of the Calendar of John of Gamundia . 85 

fifteenth and sixteenth centuries.... 47 Pomerium Spirituale. . 85 


WITH 10 TO PICA LEADS, 


PATENT AND COMMON FIGURES. 


Temptations of the Devil 86 
Life of St. Meinrat 86 
Heidelberg Dance of Death =o Eye 
Page from the Wonders of Rome <2, 8% 


German Donatus, from a block in th 
National Library at Paris......... 90 
Fragment of an early Donatus. - 
Early Dutch Horarium 
Imprint of Conrad Dinckmut. - - 
First page of Speculum Salutis. 
Last page of Speculum Salutis. . 
Types of Speculum Salutis..-.- 
Types in third edition of Speculum 
Types of Fables of Lorenzo Valla. ... .- 98 
Types of Peculiarities of Criminal Law. 99 
Types of Epitaphs of Pope Pius 11. 
The Enschedé Abecedarium ‘ 
Experimental Letters drawn on wood. - 101 
Types from Experimental Letters... .. 101 
Frisket, Tympan and Bed of an early 
European Printing Press......... 105 
Paper-marks: seven illustrations. .106, 106 
Types of Jacob Bellaert. .-.-..--..--.- 108 
Types of John Brito. ..- 
Map of the Netherlands. 
Scriverius’ Portrait of Coster. ..... 
Statue of Coster in Doctors’ Garden. 
Medals in honor of Coster. 
Statue of Coster on the monumen 
Autograph of Laurens Janszoon 118 
House of Coster. - 9 
Portrait of Laurens Janszoon Coster. .. 120 
Spurious Portrait by Van den Berg. ... 120 
Portrait attributed to Van Oudewater. . 120 
The Laurens Janszoon of Meerman.. .. . 120 
Medieval Press 
Type-mould of Claude Garamond. ..... 
Types of the Donatus attributed to Gu- 
tenberg at Strasburg. ............. 126 


-- 112 
. 6 
.. 6 
nz 


Types of Donatus of 1451.....-..---- 127 
Holbein’s Satire on the Indulgences. . .. 128 
Abbreviations of Bible of 36 lines. . 128 


Portrait of John Fust. 
Types of Bible of 36 lines-. 
Types of Bible of 42 lines. . 
Portrait of John Gutenberg. 
Types of Celebration of the Mass... .- 
Types of Mirror of the Clergy... ...-.- 132 
Types of Letter of Indulgence of 1461. 133 
Types of Catholicon of 1460. ....--.-- 133 
Colophon written by Peter Schoeffer. ... 135 
Types of the Rationale Durandi. . 
Types of the Bible of 1462... 
Trade-mark of Fust and Scheffer. 
Portrait of Peter Scheeffer 
Types of the Grammar of 1468....- 
Arms of the Typothete “5 
Tilustration from the Book of Fables. ... 141 
Part of Koburger’s Map of Europe... .. 144 
The Birth of Eve, Zainer’s. .-. a 
Type of the fifteenth century... 32 
Printing Office of sixteenth century. -.. 149 
Hand Press of Jodocus Badius. . ....--- 
Inking Balls of sixteenth century... --. 
Last page of the Bible of the Poor. 
Colophon of the Psalter of 1457. 
Types of the Psalter of 1457... . 
Statue of Gutenberg at Strasburg. 
Statue of John Gutenberg 
Letter of Indulgence dated 1454...... 
De la Borde’s Ilastration of Types 
Large wood-cut of fifteenth century. 
A Print of 1476...-......--..-++. 
Types of Constitutions of Clement v. 
The Fall of Lucifer, Zainer’s. . -...-- .- 164 


_GEORGE BRUCE’S SON & CO., TypE-FounpErRS, No. 13 CHAMBERS-STREET, NEW-YORK. 


165 


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166 Diamonp, No. 16. 


1 INDEX. A TO B INDEX. B TOC, I. 
Abbreviations, excessive use of... -- i. 150 Bible of 36 lines, description of... ..... 128 Block- ‘books, literary merit of . . . 87 Books, medieval, made for the rich . 66 


‘lected by cler, 63, ape 
e of Bible of 36 lines. - its discovery. . made for priests neg! iy oes 


i y of. fs *  obsoleteness of. - 
Abecedarium of Enschedé = not printed by Pfister. 141 hc eee a a « OQ HeanteL ae 
Accuracy in types, importance of... ? peculiarities of... ... 128 a permitted to people C7 «sale of. regulated 64 
Accursius Mariangelus. - possibly the first. - 128 « popularity of. . « « sumptuousness of. 66 
Acta Diurna of old Rome. is Schelhorn’s view of. . 140 ES Le ane © Jot dank ages: 222 23 
Adolph, count of Nassau. pose « Spegulations abont. oe ase Block-printers, many in number. * of monasteries. 76 
“his patronage of Gutenberg. . -. 134 when printed. . " 128 “a 3 faulty work of. . «of pictures... 64 
ABneas Sylvius, Pope Pius 1m... 99 Bible of 42 lines, description of. 129, 130 3 REROWA “of unknown printer... 98 
-la-Chapelle, fair of. . “ anno any, a. are Block-pri inting an established trade. «number printed before REM R eg 
sees eecon al & defects of. enrly notices of. < fhe Tight of the educated. 2 
¥ 74.75 anions f 3 in ani injudiciously selected. - 
MSDE - the z OruA ED aONIE 3 not Gutenberg’ sore S, mitt and printed. 7 
Andrieszoon Jan, of Haarlem 3 prices paid for. . ie process of. - 39 Book-sellers of Paris... - 63 
Gan aon Pb Gh “ probably rae nie s slighted _ - 70 Book-selling restricted. 64 
eabehosts the slopksio f “ heen 7 Blocks used for engraving - 50 Boxhorn, Marcus Zuerius. 115 
pO Pee ane ae, Bible of the Poor, earions ae types... 75 Bodies, irregularities of, explained. 149 Branding in middle ages 19 
ete firs CUE aia at ; a *xylographic editions of 73 Bodies of types, cuts of, - 12, 28, 95, 127 Brass moulds or Se : fo 
first block-p: a 5 a YLOECAL ton, ane Spec: " Brass stamps of middle ages_ S 
Apocaly, pse of St, John, block-book description of... ..73, 156 a é in sen ae sae : Boe a UNpeActieables 2 
evidences of its age 3 AG see = ie . « Hh cae Ont Brethren of Life-in-Common 34, 157 
iad prices paid for. . % prices paid for... 5 >, x ; ces 
Apostles’ on ‘the block-hook. © printing of. 73 5 Q eae Fg Talnowa printes 100 Hae hearer ol! 
Appeal against the Turks. -. - Blemishes in books, how corrected 94 ‘pet Ae Mtoe nae 0c ie Bec tesncance the’ Life. i Coniacs ke 
Arabic figures, first use of Block-books, Antichri By Et = eee Ore ‘Weidenbech » 
Bs Neo > block book Sie reseies 80 = J Book:hinding, Chinese. . Bruges, early printing 
Jeagee eat en ee aN “ as Memoranda! Pit es 2 of middle age A _eulld of book-makers a 
re ‘Ars Morena : 81 i prices paid for... Brussels print. - 37 
« Bible of the Poor 72 “ sumptuous forms of. Bull of Pope Pius 1 against the Turks. . 137 
F Book of Kings 79 Book-collecting, a_pri inaely hobby- Burnisher of engravers............-.. 39 
i Canticles. . 5 76 Book- -making, as done in old Rom be 
A ; 2 Jesiastical at 61 Calendar of 1457 
Babylon, bricks of... « Chiromancy of Hartlieh.. 83 an ecc’ : : 
Badius Jodocus, of Paris “Dance of Death. 86 ae eet DS Bee ee ete CO 31 
Bamberg, Bible of, see Bible of 36 line: 3 Donatus - 89 3 BIN ee copyasts- ea calle aaie tees iy 65 
‘ « : Zs 
m Meteo - BS ‘3 pet noraaie, Prayer 78, 187 oS in monasteries. 61. Cambray, record oh - ta 
Batavia of Adrian Junius {German Planetarium... 8 Aviuchtit ee ee of. Dereon tictessithe eee eo 8 
“its authority considered. - (3 Grotesque Alphabet 7 » Ags = 
: iva fPabless see ss 141 Case of early compositors. - 149 
Bearers of early printing press. 3 = Life of St. Meinrat. .- - 86 Book a a ri 
Bechtermuntz, Henry and Nicholas. ___ 3 Pomerium Spirituale .85, 86 Books, printed, changes in stypic ° 1 Castel Bennie = ae 
Beildick Lorentz, testimony of. “ Story of the Virgin....._. 77 Chinese, cheapness o' 1 Catholicon of - ~ - 
« aati i “ common in old Rome. 22 Caxton William, of . 147 
Bellaert Jacob, of Zierikzee Temptations of Devil 86 : 2 6 v us Ae 
Berlin print... - = “« Wonders of Rome.. 87 “demand for cheapness in 70 Celebration of the Mass. 
Bernard August, history o ‘3 absurdities in. - 77 x3 ently ee) cheapness of..... 147 conniat Peraeti 
Bible, early translations o! J advantages of 91 Pn Se PICS IOP i MOOG Se 
¢ first with wood-cuts. W definition of 72 ze medieval aoe veter Chinese rinting, estes anstbcio et 
© reading of prohibited. . es “ disregarded by scholars... 88 - “character of. 5; sean De aS ae 
Bible, Mazarin, see Bible of 42 lines. es earliest date in 86 2 % cheap forms bY) y LSE NA OS seb, > 9 83 
Bible of 1462 (48 lines oe aae ¢ great number of 86 = & large size of. - Chiromancy of Dr. Hartlieb. . - aie 
Bible of Mentel at Strasburg... .__._- « inferiority of_.- 72 made by artists. Cicero, his speculations on types- 
1 
Til, INDEX, C TO D. INDEX. D TOF. ly. 
Clog of England. -.-........ ase . 67 Coster, as a sexton - : Dritzehen Claus, complaint of. .....-.. 122 Engraving on wood, of letters... 73 
Codex Argenteus............. - 53 « as a tallow- chandler! Ci Andrew, death of .__ bi ‘2 origin considered... 36 
Cologne as a school for printers . .. 109, 144 “ as a tavern keeper. ae Us services of Oo used by copyists... 53 
Cologne Chronicle of 1499... .107 “~~ confounded with Janszoon ng Ennel, testimony of. - - Enschedé on wood types. - - -102, 116 
Cologne, early printing at. - 144 “alleged descendants of. a fo George =... .--..- Epitaphs of Pope Pius 1. - 99. 
Color work of Peter Schorffer. . 136 “portraits of. - 2-20) Diinne Hans, testimony of. . - - os Erasmus, bis version of the caver ene bt 
Complaint against Death - M1 “ statues of 115, 117 ‘*" --asiajoorrectér® >= Os. Jessa ce 164 
Composing rules, early ignorance of.... 150 * tablets to. - 117 Education, state of in xryth century... 67 Errata, first appearance of- --- 150 
Composition as done in 156: 149 Costerian Museum. D7 Education of schools in middle ages. Errors of early books . 153 
2 by dictation 150 Counter-punch, use of. 27 * 2 afforded by block-books. -. . .- “typographical, frequency of .136, 150 
a double, indications of. 138 Couplets of Cato... .-. 99 Ss mM is early, made difficult... ..__. Eulogy on Lorenzo Valla.............- 99 
2 jn imitation of maa ---- 160 Cuneiform inscriptions 15 amd =) a modern, aided by types.- Exercise on the Lord’s Prayer .. .-. 78, 157 
= imperfections of-. - 150 Cunio, the story of the two . 6 <i Eggestein Henry, of Strasburg. .. 
omega of types in China. . - 51 Cylinders of Assyria.................. 17 jan] [) Eight Rogueries, the block-book. . - Fables, Book of, by Pfister. - 141 
: ¢ a test of age...... 106 a +] Eltvill, printing done at... Fables of Lorenzo Valla. .. 98 
: Z cost of... a5 12 Dance of Death, Holbein’s designs... ... 69 Oo “a suburb of Mentz.- Faust John, as described by Junius. ... 111 
Compositors often wes of education... . 149 3 in Nuremberg Chronicle 70 <q Embossed types of unknown printer... 97 Faustus Jo. Frid., testimony of -...._. 140 
2 sometimes women 149 1nd popularity of. ......69, 155 4 v zi “of Codex Argenteus.... 53 Finiguerra Maso_. . 14 
Condition of medieval society . -- 68 he the block-book 86, 87 © AQ,  Endkrist, the block-book. .... 81 Flanders, early importance of. 68 
Confraternity of St. John the Baptist -- 107 Decretals of Boniface vir. _- 138 Engravers, early, jealousy o' é Flemings, their skill in the arts 68 
oman of the penne See eee ee Desroches, his story about Ludwi ior tO © Engravers on wood, early, notices of.... 70 Flemish block-printing. - - .. 
tee of Pope Clement v-. De Vries Abraham, on Coster. -. 117 5 f+ —- Engraving an aid to the invention. Florence, early printing at. 
Coornhert and Van Zuren. Dialogue between Cato, Hugo, et al... 133 > Engraving decadence of. Form, ambiguity of the word........_. 125 
BonrsE: plate pr: inting; y process sof eee 9 Dictation, Madden's theory of. -.. 135, 150 S) “« large blocks of. - eae ee ee 125, 134, 137, 140, 149 
‘ invention of... .. 14 Diether, Count of Isenburg..-.....__.. 133 lel = 3 often done on metal. Forms of metal, notices of... -. 123 
Copyists, faults of. re : Dissertation on Invention, Boxhorn’s... 115 te a i of Pfister... ... “melted by Gutenberg. -. 18 
fond of pictures. 64 Doctor Hartlieb, Chiromancy of . ey (: at Augsburg. . “ were probably matrices -.. 125, 134 
us ae ages. . -61 Doctrinal of Alexander Gallus ay <) at Nuremberg. . a Four pieces, the tool of... ..- cers. L2D, 
« 1 
‘ uy alt Rome. . 22 of Cambray..._- TH Y not mother of oe ae ae Fraternity of St. John the Baptist. . 107 
a ee as wv eects --- 64 Donatus noticed by Zell ..... q re 4 not practised at Haarlem. ... 109 a of St. Luke 
or 5 : , 
ee ie oe ler a -98, 11, 114 : ascribed to Gutenberg 2 id of playing cards. ........... 42 Priction, press-work by. 73 
Clara, ae | ___imitations/of type-work. &  Wobipunches 2 -.cejues oes 31,148 Prisket, early use of... 97 
ee ae a Page Z : of Gutenberg at Mentz....._. a on pow hy the Cunios. ..__. 565 Frotton of engravers on wood. . 39 
“ as se is 2 ate ake b of Koning. - Chinese practice.... 50 “not used by block-printers 73 
“ “ ay erat A F Bored typos raphy. “early forms of..... 55 Fust NE conflicting views about... _. 129 
E 7 ehlrie * DEE, “ “  pndeness of .....84,152  « death of - 138 
¥ a 2 of Haknoyen printer. a “Italian practice of. 55  “ “his suit against Gutenberg... 130 
“ . popularity of the book... ‘ “merit of early work. 34 “ “his victory over Gutenberg. . 132 
asa printer Dordrecht, tradition of printing at ..89, 90 “ z ‘ 


neglectof ....... 96, 151 was not Faust............. 128 


-_ 


GEORGE BRUCE’S SON & CO., Typn-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 


-. t 


Vv. 
Fust, Conrad 


* Jacob, the judge ve 131 
Fust’s sale of Bible in Paris. - . 138 
Gebwiler, testimony of. -- .. 142 


Gelthus Adam, tablet of. -- 
Gensfleisch John, not a print 


% family of. .-- 121 
Gering Ulrich. ---.---- 146 
German Planetarium and Calendar.... 85 
Germany, its progress in education..... 68 

in useful arts... 68 

Getté en molle, meaning of the term. . .. 106 
Goldsmiths as punch-cutters- S 148 
Gothic character, popularity ol - 148 
Gothic letters, origin of. ---- = 64 
« popularity of. 148 

£ varieties of__ 127 

bi Petrarch’s dislike of. 61 
Grotesque Alphabet, the block-book.... 86 
Guilds of middle ages - 70, 124 
“of book-makers.. - 70 
Gutenberg, family of. 121 
Gutenberg John, early ‘life of. 121 
as a book-maker. 129 

as aourtier.- 134 

as a financier. 121 

as an engrayer- - 125 

as an inventor.--..122, 128, 135 

as an organizer- . 124 

books printed by - 132 

careless of fame_ 132 
Catholicon of. 133 

courage of . 132 

death of... - - 134 
experiments of- 126 

memorials of. - - 135 


partnership of, at Strasburg. 123 
partnership of, at Mentz.... 129 
planned the Pealter.......- 136 
poverty of ........ 128, 126, 132 
probable marriage of-..-..- 121 
supplanted by Scheffer 
trials of, at Strasburg. 

Ls at Mentz._- 
unknown work of. - 
Gutenberg’ 's types, history of. 


121, 122 


RRAERRAERRERRRRARRRKRR RRA 


defense against Pus 131 
og idea of typography 134 
4 place in history---- . 135 

. 
VIL. INDEX. 
Hee engraved, peculiarities of . . - - - - 91 
= imperfections of 73 
Lettres de somme or Round Gothic 107 
« de forme or Pointed Gothic . 107 


Letter of Indulgence of 1461 - 
Letters of Indulgence of 1454 


ia! “ — Holbein’s satire on. 127 

yy “popularity of.....- 127 

s «translation of .... - 158 
Libraries, early, neglect of. -..----.--- 63 
& in France and Burgundy 66 
Life of St. Meinrat 86 
Literature, decline of in old Rome . 22 


= neglect of by the Church... 60 
of popular books ape) 
of the romance books...-.. 65 
revolutionized by printing.. 70 
the privilege of a class ..66, 88 


Cans 53 


Lithography, process of-. -- 10 
- invention of 14 
Little Book of the Mass. - - 98 
London, early printing at --- 147 
Louvain, early printing at - . 144 
Lyons, early printing at . - - . 146 
Making-up badly done. - --- ---.------- 150 
Mansion Colard, of Bruges -.- .-. 144 
Manuscripts, faultiness of. -- - 153 
Manutius Aldus. ...... . 146 
iat as an editor . - 154 
Marco Polo does not notice printing .... 52 
Marks of notaries . - - 53 
Martens Thierry - . 144 


Master printers, changes of === 149 
Mastery of printing, how acquired ..... 149 
Materials early, imperfections of .....- 151 
Matrices, as described by Trithemius . . 139 
Matrices of lead. 103, 104, 148 

« of copper .. 148 


Diamonp, No. 16. 


F TOL 


Haarlem, first notice of legend of. - 
iy known printers at. - 
na neglected printing 

Hahn Ulrich... -.- 

Hanequis Conrad. 

Hanseatic League. 

Hasback of Haarlem 

Hauman Prederic- 

Heilmann Anthony, y 

Hessels J. H., writings of -- Be 

Holland, early printing of. 07, 108 
* ‘confounded with Netherlands. - 108 


“not the birthplace of invention. - 108 
Horarium of Scaliger -- 89 
< of Adrien Rooman 90 
Horn-book of England_..-. 67 
How to Die Becomingly.- 82 
How to Remember the Evange is 81 


Humery Conrad, friend to Gutenberg. - _ 132 
be acknowledgment of... 134 


Tgnorance, prevalence of in dark ages... 23 
ba of ecclesiastics... . 2,60) 
Tliad of Homer, the s 


hool-hook. 


Illuminated books of middle ages 61 
IMuminators and calligraphers. - 65 
Impression by different methods 13 
doubling of. 96 

& not typography- 25 

Ls on bricks. 15 

ce on early hand. press. 151 

is on paper and vellum 153 

§ on textile fabrics. 54 
Image prints all devotional. 40 
% Annuneiation - 34 

Y Berlin print - - 38 

& Brussels print. es =e hi 

< Indulgence print - .36, 37 

os St. Christopher- - 34 

GC preceded books 3 

& how printed. - 39 

3 made for stenciling 34 

ES merit of........ 40 

a not done by friction. 39 

i not made by monk: 40 
origin of_...... 33 


popularity of. 
where made - 
Impositions of eight pages 
Initial letters of italy. 


“of early printer 
L TON. 
Matrices, conjoined. ..--.-.----.------ 103 
ss early method of making. .-- -- 148 
A. early trade in.....-.-------- 148 
% made of soft metal. . 


Matrix, description of .-.- 
* early use of ..-.- 
Mechanics in middle ages - 
Medals in honor of Coster. 
Meerman Gerard, book of 
Memorials to Coster... -.- 
be Gutenberg -- 
Mendicant friars. - ne 
Mentel John, eemocel [ere eeces 
Li * alleged invention of BELeee 142 

as a printer . 


Mentz, revolt of burghers at. . ---- 
* capture and sack of. - - 
Methods of printing. - - - 
Mexico, first printers of 
Milan, early printing at -. 
Miniaturists of middle ages. 
Mirror-making in Germany -. 
Mirror of Salvation -.. - 
Mirror of the Clergy- 
Mould, modern, description of ..- - 
«adjustable, notice of. ...-- 
«early, description of...-.-..--- 
“ of Gutenberg. .--..--- 
Music, types for...---..--...-.--- 


Neglect of early printing ..... 
Netherlands, block-printers of 
we type-printers of. 
bas block-printing of 
Newspapers of old Rome . 
« China... - 
Nope Cune, decision of .. 
Nummeister, John... ---..-------- 


‘aV'IOS 


‘SGVUT VOId OL OT HITIM 


SOLID. 


WITH 10 TO PICA LEADS. 


INDEX, 


Inking balls, how made. -- 150 
Inking of printing surfaces. 13 
Ink Printing, affected by pap 151 

deterioration of. 151 


of the Psalter of 1457... . 136 
of the Ripoli Press.....-. 151 
93, 96 


® early, faults of. 136 
to early, unstableness of. 151 
s inequality 0 151 
£ Moxon’s criticism: of- 151 
$ of Bible of 42 lines 130 
be) of Donatus of Ment ~ 127 
iv of Jenson. - --. - 1 
to of Psalter of Mentz...-.. 136 
of the block-printers 73 
“ 

« 


of unknown printe 


me the complement of types... 151 

Ink w: riting, antiquity of. Soe eee 
useless in printing. ..-.... 20 

Invention, merit of, not in idea... . 134, 142 
Tnventions not the work of experts. a= = 185 
Invention of paper in China. - ses 206 


- 104 
. 150 


Invention of press, not noticed. . 
why ne: glected. . 
Inyention of Printing, 


2 early notices of. 135 
be a great discovery. - 32 
ce came at the right time - 23 
& it methods of . 14 
i key of in the type- -mould . - 32 
s merit of, not in the idea...... 26 
& € in the type-mould.. . 135 
= not perfect in 1439 7 -- 126 
hs probable causes of. 7, 8, 14 
% waited for readers. PASSE AS 
& sion of Bertius - 115 
Ks be Coornher! . 0 
i. 9 De Vries . 7 
3 « Erasmus 114 
$ 2 | 22 UNE 
ee € - 140 
¢ by se ball 
by i 7 
i bs Meerman . 116 
« “ —— Sealiger . - 89 
: & John Schee - 139 
= £ Seriverius - - 115 
s a Belz, 22- == - 116 
is be Trithemiu 135, 139 
by be Van Zuren. ...110, 111 
“ & Wimpheling . -.124, 125 

INDEX. 


Nuremberg, early printing at .-- 
Nuremberg, Chronicle of 


Offices of Cicero. .--..--------------- 
Order of King of France to Jenson 
Origines Typographica: 


Ornamentation of manuscript books.--. 61 
Painting of printed letters ..-...------ 136 
Palimpsests 59 
Pandects of Justinian - 98 
Paper approved by the people .. - 70 
“ as made in Japan .-....-- 56 

ig he in middle ages - - 58 
Le in Spain... 58 


“« 
“came before its time. . 
«disliked by calligraphers 
“earliest notices of . - Daa ite OF GO 
«early, badly made 
* great price of 

*  }inen and cotton 
“ made of many qualities = 
“neglected by copyists.......-. 

“« 

“ 


of early typographic printers... . 162 
preceded printing. ...........--- 21 
«preferred to vellum by printers. - 153 
selected for block-books 
S808 Ola == 2 <5 oak 
Paper-making, growth of... .. 
Paper-marks not a guide to age. 
_ of unknown printer 

i) why made 
Paper-mills, early notices of. . 
Paper money of China... ..-... 
Papillon’s story of the Cunios . . 
Pupyrus not fit for printing -. 
Parchment, how made 
Paris, reception of printing at - 
“ first printers at 


cf 


oS eS 


ITOL. 


Invention of Printing, 


« 


« 


version of Zell . 
Invention of printing in! 
Inventions of the middle ages 
Invention of types, not boaste 
alleged thefts of. 

Treland, the book-makers of - 
Italy, early printers of... ... 
its enthusiasm for the art. - 


Jan, the printer at Antwerp..-...---- 


Janszoon not Jani 


Japan, paper of 


Jenson Nicholas- 


« 


John of 
John of 


Kepfer (or Keffer) Henry 

Ketel Anthonis, of Haarlem . 
Ketelaer and De Leempt. . 
r Thielman, of Paris . 
¢ Peter, of Paris -- 
es ledge, acquisition of, difficult 
Knowledge a monopoly... 2 

Anthony, of Nur 
Koning’s hook on ‘the invention . 


oe 


Koburs 


as a type ‘founder 
mundia, calendar of 
phalia, as 
Judgment of Man after Death - 
Junius Hadrian, sketch of his 


‘oon Coster 


a publisher 


ife 
julousness of - 
history of .....-.---- 


Koster Lourens Janszoon, see Coster. 


Labor, division of, by printers...-...-- 
rye 


Latin language, why pre: 


“ 


Laur 


Lectur’ 


Leeu Ger 


crans of Scriveriu 
Lead used by Gutenberg. . 
Leads first used by Schieffer 
f the middle ages . 
ard, industry of . 
Legend of Haarlem... 


sininaanann eRe 


abbreviations of -- he 
key to all knowledge. = 


hegan with pedigree. 118 
contradictions of. ... 117 
early meagreness of. 111 
echo of false history. 113 
exposure of . eth 

improbability ‘of 


« unfixed dates of. -115, 117 
Legend of Walchius about the sale of 
first printed hooks at Paris. .-.------ 138 
N TO P. VIu 
Paul of Prague, testimony of. - -------- 141 


Peculiarities of Criminal Law - 
Pedigree of Coster fumily 


“ 


«“ 


« 


o its exposure ... 118 
a its forgery .... 118 
. its insufficiency 118 


Pfister Albert, our first knowledge of .. 140 


« as a block-printer wee dhl 
« as an inventor. . M41 
« — Sebastian - -- .. 142 
Pi-Ching, an early Chinese printer.... 49 


Pictures came before books .. --------. 


bi general fonduess for. . - -- 
Pigouchet Phillipe, of Paris. .-.-..---. 146 
Platen, smallness of -.... . . 150 
ree Wee Chinese . 44 
date of introduction . 44, 48 
bs * denounced by clergy..-. 45 
ba! “ early, cost of . ..43, 45 
ba “ early forms of. Tes) ae 
Le. * early notices of. .....42, 43 
s * manufacture of......... 41 
C “ of France and Italy -.43, 44 
ted « of Germany- - 42 
al * popularity of. 43 
s “ preceded ima 48 
= “ rudely made 48 
« “~ strange games of :..---. 45 
- “ suggestive of printing 47 
Pliny’s notice of portraits in books. 49 
Points for making register ...---.----- 161 


Polishing of gems taught by Gutenberg. 124 


Pomerium Spirituale 86 
Pope Pius 11, treatises of . - 99 
Presswork, early method of. . ...<-~.-- 150 
re alters appearance of types. . 102 

by as done in China...--.-,-. 50 
daily performance of... .50, 161 

= early, in colors. .---------+ 1 


GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


ey 


Pace 


bg 
=f 
at 
d ae. 
i’ 


1 = 77s 
Pipl ty @ 
oe @ atch 4 Wiad , 
trae) Wy a che thae 


a ae 


canigre 


re io Pe 
Iga Whoa |! 
® 


ac 


Fw 
fd 


Woe rey 


Ix. INDEX. 
Presswork, early practice of - ... 151 
jmperfections of - 151 


ig of block-book mz, 
of Colard Mansion - 136 
« of early type print 151 
« “~~ of Gutenberg. - .128, 130, 132 
id of Scheeffer . 

J of unknown 

2 on textile fabric: 

“« 


process of... 

Prices of manuscript books in old Rome 22 
* of medieval books 
* of printed books 
« paid for printing - 
Print-coloring, early practice of. 


Printers, early, activity of . 

Printers, early names for. 141 
@ armorial shield of. . 142 
i at Mentz before 1500. 143 


ear’ liest i in Germany . 
Central 


« 
« 
« 


RRR RR 


* Spain, ete - 


ting, ambignity of the word 
aided by painting. - 
by frietion_- + 
«difficulties of - - 73 
Chinese method o 
depends on other aids . 
derivation of from Chin: 
different methods of. . 
early, in Neth 
early prejudic 
from engraved stamps . 
German origin of. 
in clay - 
not alw: ays 8 economical . 
not generally welcomed - 
of Psalter of 1457... 
on one side, reason of. 
on textile fabrics _- 
permanence of the ar 
benefit from... . . 
waited for reader: 
with a brush. 
Printing Press, con: ruction of 
Lignamine's no} 


Prin 


SE 


RRR RRRRRR RRR RRRRE 


® 


DrAmonp, No. 16. 


P TO 8. 


Printing Presses, cost of 
Proof-planer, use of - 
Proof- f-reading, early notice of. 
how done - 
Psalter of 1457, beauty of. 
« ~colophon of 
editions of. - 
the designer « of. 
Publishers of old Rome. 
ie in Italy ... 
Punch, description of . 
Punch-cutters were goldsmiths - 
Punch-cutting not done by printers - 
5 importance of -.-- - 


« « 
« “ 


Punches of ste 
= of wood 
bs of Gutenberg. . 


Quadrats, substitutes for... 
a proper use of. 
Quintilian’s notice of stencil: 


Rationale Durandi ... - 137 

Register, means used ft Wasco tal 

of colors, how done - - 136, 151 

= in Psalter of 1457. . 136 

er of pages, early, how done. -... 151 
Registrum charta : 


Reimboldt, 

Religious d 

Ripoli Pre. 
“6 


« 


at ali. a= 
materials used by - 
Rome, early printing at. 
Rooman Gillis and Adrien 
Rubr: ieate pd books of middle 25 
“of early printers... .. 151 


Sahspach Conrad, testimony of ..-.... . 122 
Sand moulds. . .. 103, 
Savage on the iter of 1457 
Scaliger J. J., about Horarium - 
Schaeffer Peter, as a copyist. 
as a judge aan 
as a printer. 

as a punch-cutter 
as a trader... 
as a type-founder 
as an inventor. 
borrows a hook - 
descendants of 


‘of * operation of ........... bi = false claims of --- 
XI. INDEX. T TO W. 
uy ceetesE adjustable... ..-. 125, 126,149 Typography, Chinese method of........ 50 
made by goldsmitl - 148 . claimants of inyention.... 14 
y of early printer: 29, 148 Md depends on other aids... .- 24 
bd of Garamond. -. = erroneous ideas about .... 25 
s of Gutenberg - - 5 ‘a is a science. .....--. 121 
i of sand -- 103 i not fruit of engraving. 125 
Types of wood, Junius’s description of 113 i period of its invention 14 
Sie as made in Japan... _-. 26 F. why it was delayed. . 
oe of wood, experimental . Typothete, arms of 
"3 Dela Borde's t 
« i limitations of Uneven spacing in early printing -._..- 136 
le oe ed Specklin’s deser iption of 142 University of Puris..........-....... 63 
“ as made by Conrad Winters .-..149 Unknown printer of Netherlands - .. 
“Chinese, early forms of. . - 49 = EP perion Ofer 
* “ modern elem er ag LOL 4 Ee workmanship of .. ... 109 
“early, cast and not cut...-..102, 140 Utrecht, early printing of . . .. 


“early faces of.......... . 48 
“early speculations about... - 18 
* engraved, impracticab! 27, 101 
“Gothic, popularity of - 148 
“ how made. . 

“ of Jenson .. 

“made by one method only. 26 
“~~ made in sand moulds. .___ 

“must be accurate... ... 

“not made with system 148 
“of brass, notices of. 31 
“of glass....... 

“of Gutenberg __ 

“of lead, as made by Blades . - 

“ « “ 


Coster ..... 
of porcelain 
“of Schieffer 
quantity of usually cast......_. 
smallest sizes in 15th century 
unknown printer . - 
variations of form ex 
Typography, advantages of ... 

e cheapness of method... ... 


GEORGE BRUCE’S SON & CO 


“ 


Speculum traced to. 


Valdarfer, Christopher ...-..--....--- 
Van der Linde’s Haarlem Legend. .... 

Tot exposure of fraud... .. 
Van Eyck Hubert. 
Veldener John - 
Vellum, how made . 

“ early scarcity of - 
not suitable for printing . . 
Venice, early printing in 

“famous for printing. - 
playing cards of. - 
relations of with Chi 
the school of typography. . 
Verard of Paris... ....- 
Vindicie Typographice. 
Vocabularium ex quo... 


« 


« 
« 


Von Seckingen, testimony of. ._.-... 
Von Zabern Barbel, testimony of . -. 


Weidenbach, printing at 


‘d1TOS 


‘SGVHT VOId OL OL HLIM 


SOLID. 


INDEX. 


Scheffer Peter, memory of, neglected... 140 

e pupil of Gutenberg. -- 1 

Ms succeeds Gutenberg - 

f. vanity of -.....- 
Scheeffer John, testimony of - 
Schoepflin Daniel - -_- -- 
Schott John, claims of - - 
School books of middle ages - 
Schools of the middle ages --- 
Schultheiss Hans, testimony of - 
Scriptorium of monasteries - 
Scriverius Peter .-...-- ee 
Secrets of printing stolen_ = =A), 113. 
Section, definition of term 
Seiz and his book ..---..- 
Senefelder Alois, the lithographer. 
Sensenschmidt John -.---- 


Seven Penitential Psalms - 98 
Sewing of books ...--.-.--- 62 
Sidenneger Hans, testimony of - 122 
Signatures, early use o! . 150 


Spacing out of lines. 
Specklin Daniel. - 
Speculum Salutis, : a . Dutch hook 
as noticed by Junius. 
blocks of destroyed 
description of - - 
translation of 
editions of. - 
its workmanship - 
not an experiment. 
printed from types . - 
probably printed at Ut 
teachings of the book .. 
variable letters of . 
when printed -- 
Spira John de, of Venice - 
Spyess Wygand..____.- 
Stamping of single letter: 
on textile fabrics 
Stamps of Babylon and As 
copyists - 
Egypt. - 
middle ages 
Romans .--.- 


RRRRRRRR ARK 


«“ 


« 
« 


Stationers of Paris.. 
St. Bridget. print of. - 
St. Christopher, print of. 
Steel-plate printing, process ti) 
Steinbach Thomas, testimony of . 


INDEX, 
William of Saliceto, Treatise of ......-. 99 
Wimpheling, testimony of. 124, 125 
Winaricky’s book on Gutenberg ....-.- 121 


Wine-flagons of Coster 
Witnesses on trial at Strasburg. .. 
Wittig Ivo, tablet of 
Witty Speeches of Great Men. a 
Wonders of Rome, the block-book ...85, 87 


* Wood-cuts, early, merit of .......-.... 33 
< difficult to print with types. 96 
& dissimilarities of... .- 74, 84 
« early, designed by artists .. 80 
i later, inferiority of. .. . 152 
« liability to warp . 151 
Mg mutilations of ...._.- 74, 77,97 
« 


WITH 10 TO PICA LEADS. 


neglected by early printers . 151 
not printed with types ..... 94 


8 TO T. x. 


Stencil- -plates of old Romans - 

of card-makers._ 
Stereotype moulds .-.--..- 
Stereotyping, its advantages 
Stick of early compositors . - 
Stocker Mydehart, testimony of - 
Story of the Blessed Virgin. 
Strasburg, early printing at. - - 
St. Thomas of Aquinas, book of - 
Suabia, abode of early engravers 
Surfaces, varieties of in printing 
Sweinheym and Pannartz........ 


Temptations of the Deyil 
Thomaszoon Gerrit... .- 
Title-page, first appearance of - 
Tool of four t Pieces, mysterious 


not a press. - 
ane f not types nor pages 126 
e 53 probably a mould. . 126 
Torquemada on Health of Soul. . - 99. 
Torresani Andrew . 146 
Trade-marks of middle ages 53 
Trades early, secrecy of - 124 
Transferring, by Chinese ‘me 49 
Transferring, process of ........ - 95 
Treatise on Celebration of Mass- 133 
B On WEOVO: <leteee eens <r 99 
fe on Necessity of Councils. 133 
& on Reason and Conscience. - --. 133 
Trial of Gutenberg at Strasburg 121 
Trial of Gutenberg at Mentz 130 
Trithemius, testimony of. . - - 139 
‘Two pages printed in one form =- 194 
Tympan of hand press... - - - 104, 105 
Type- casting, as done in 1564 aa S0. 
as done in 1683 29 
ia modern, by machine..-.. 28 
2 slowness of hand-work... 29 


Type-founding, relation of Trithemius. 139 
of Faustus. -.. 140 


“4 an art of slow growth... . 148 
g in sand moulds. . _. 103 
G as done by Didot 103 
as done by Franklin . 104 
2 by novices . - --109, 148 
“« 


early notices of 
Typex making a secret art 
in China. 
Type-metal, ingredients o 
Type-movld, the key to the invention... 32 


W TO Z. xm, 
Wood-types, impracticability of. - - 101 
‘ Enschedé’s remarks on 
© experiments with. - 


Wood used by early engravers. 


Xylography, limitations of. . 
Chinese method i. 
a first method of 
not applicable to books .. --. 
not Gutenberg’s art. ..._-.- 126 
not practised at Haarlem... 109 


Zainer Gunther. 
Zappe Paul, the ambassador 
Zarrot Anthony........... 
Zell Ulric, about the Donatus 
so GB Va REO GON Ss site ee= clare 


Prixtep By FrRANoIs Hart & Co., 
63 Anp 65 Murray-Srrerr, New-York. 


.. TYPE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 


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